IntroductionWelcome| 00:04 | Hi! Welcome! My name is Chris Orwig.
| | 00:07 | Two of my life's biggest passions are
photography and teaching, and I am excited
| | 00:12 | to share those passions with you in
this four-part series Lightroom Essentials.
| | 00:17 | In this initial course, we're going
to focus in on how we can organize and
| | 00:21 | manage our photographs,
working with the Library Module.
| | 00:24 | We'll take a look at how we can import our
pictures from a compact flashcard or a folder.
| | 00:29 | Also, how we can organize and
manage these files by adding metadata.
| | 00:34 | We'll also look at how we can group
our pictures together using Collections.
| | 00:39 | We'll also spend some time
working with the Map's Module.
| | 00:42 | This gives us the ability to group
our images based on different locations
| | 00:46 | where they were captured.
| | 00:48 | Then we'll spend some time looking at
how we can work with our video clips.
| | 00:52 | We're going to cover all
of these topics and more.
| | 00:55 | So without further delay, let's begin.
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| Using the exercise files| 00:00 | If you are a Premium member to the
Lynda.com Online Training Library, or if
| | 00:04 | you're watching this movie on a disk,
you have access to the Exercise Files.
| | 00:08 | You'll find the Exercise Files folder,
and if you double-click it and open it
| | 00:12 | up, you'll notice that the
Exercise Files are organized into folders.
| | 00:16 | There will be some subfolders which
will describe to you what files you'll find
| | 00:19 | in those various folders.
| | 00:21 | For example, we can go ahead
and open this folder for Travel;
| | 00:24 | we'll find some pictures inside of
there related to travel photography.
| | 00:27 | Or, we could open a folder related to
People, and here we have some people
| | 00:31 | photography pictures, and we could go
ahead and open those and access those files.
| | 00:36 | Now, later in the course I'll actually
talk about how we can import these files
| | 00:40 | into Lightroom, yet for now all that I
want to do was just to highlight these
| | 00:44 | Exercise Files, let you know they're
there, and also talk to you a little bit
| | 00:47 | about how they're organized.
| | 00:49 | Now, if you don't have access to the
Exercise Files, no big deal, you can always
| | 00:53 | simply follow along, or of course you
can always use your own files. All right!
| | 00:57 | Well, on that note, let's begin.
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1. Getting StartedThe broad Photoshop Lightroom overview| 00:00 | Before we dive into working with
Lightroom, I thought it would be helpful to
| | 00:03 | step back for just a couple of minutes
and ask ourself this question, at its
| | 00:08 | core, what is Lightroom?
| | 00:10 | I mean, what is Lightroom really all about?
| | 00:13 | One of the things I should point out
is that this and the next few movies,
| | 00:17 | they're designed for those of
you who are new to Lightroom.
| | 00:19 | If you've been using Lightroom for a
while, feel free to skip ahead. All right!
| | 00:23 | Well, back to our question, what is Lightroom?
| | 00:26 | Well, here I've created a couple of
graphics to begin to think about what
| | 00:30 | this tool actually is.
| | 00:31 | For starters, it's a pro-photographic tool.
| | 00:35 | Now, if you stop to think about this
for a second, it's really important.
| | 00:39 | If a tool is at a professional level,
what it means is that it's really strong;
| | 00:44 | it can help the person be efficient,
effective, and creative in a distinct way.
| | 00:49 | Now, what this doesn't mean is that
this tool can't be used by amateurs.
| | 00:53 | It can be used by anyone, yet it's a
really good, it's a high quality tool.
| | 00:58 | And what this tool is made up of is
three things, at least in my mind.
| | 01:02 | First off, it's an image processor.
| | 01:05 | It allows us to enhance
and correct our photographs.
| | 01:09 | And then there is this database layer.
| | 01:11 | What this is all about is that
Lightroom allows us to organize our images in a
| | 01:15 | unique way, and it remembers things
about our file location, about changes we've
| | 01:20 | made to our photographs, etcetera.
| | 01:22 | Lightroom is also really about output,
whether that's designing a custom book,
| | 01:27 | or making a print, or creating a web gallery.
| | 01:30 | At its essence, Lightroom is this
pro-photographic tool that's made up of
| | 01:34 | these three things;
| | 01:35 | it's an image processor, there's a
database element, then there's also output.
| | 01:40 | Now, if we step back for a second, one
of the things that you'll realize is that
| | 01:43 | Lightroom is made up of these different modules.
| | 01:46 | While there are these core features
or core values, we can accomplish these
| | 01:51 | different types of things in
Lightroom by entering different modules, and I
| | 01:54 | want to talk a little bit about those
modules, the first one being the Library Module.
| | 01:59 | Now, the Library Module, that's
where we're going to do all of our
| | 02:02 | organizational work.
| | 02:04 | That's where we'll rate, rank,
sort and filter our photographs.
| | 02:07 | We'll also add some
metadata and do other things here.
| | 02:11 | The next module we'll be
working with is the Develop Module.
| | 02:14 | Now, this is where the fun really takes places.
| | 02:17 | This is where we develop, where we
enhance, where we correct our photographs.
| | 02:21 | And then we have a whole other group
of modules that I want to look at in one
| | 02:25 | batch, let's talk about these.
| | 02:28 | Well, the Map Module, that gives us
the ability to organize and access our
| | 02:31 | images in a distinct way
based on tying into Google Maps.
| | 02:36 | We can also design custom books, which we can
then send to be printed at places like Blurb.
| | 02:42 | We can work on printing our
photographs from our desktop printer or from an
| | 02:46 | online printing service.
| | 02:47 | We can also create web galleries or slideshows.
| | 02:51 | So as you can see, there are these
different modules, and I've created this
| | 02:54 | graphic this way to kind of illustrate
that there are these core values, and
| | 02:59 | then from these core values or
functions we have these modules.
| | 03:02 | We enter a module to do something, like
the Library Module to organize, or the
| | 03:07 | Develop to enhance and correct.
| | 03:09 | And each of these modules, they
kind of stand alone, they almost are
| | 03:14 | self-contained, yet at the same
time they are very interconnected.
| | 03:18 | Now, one of the reasons why Lightroom
is such a popular application is because
| | 03:22 | of this whole concept of workflow.
| | 03:24 | In other words, you don't just enter
into one module and do that and that work
| | 03:28 | is disconnected from the other modules,
rather Lightroom helps us work through
| | 03:33 | our photographic process.
| | 03:35 | It gives us this framework for
working on our images, which works in a
| | 03:39 | really distinct way. All right!
| | 03:41 | Well, now that we've been introduced
to what Lightroom is at its core, let's
| | 03:45 | take a look at Lightroom from a
photographic workflow perspective, and let's do
| | 03:50 | that in the next movie.
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| The photographic workflow puzzle| 00:00 | In order to talk about how Lightroom
fits into this whole concept of the
| | 00:03 | photographic workflow, I've created
this slide here, which in my mind is a bit
| | 00:08 | of a visualization of the
photographer's workflow, from capture, over here on
| | 00:12 | the left, all the way to importing our
images and storing them on hard drives,
| | 00:17 | to different forms of output on the far right.
| | 00:20 | And we have different tools that we
can use in order to go through this
| | 00:24 | photographic workflow.
| | 00:26 | Now, the trick of course is, is to
have a tool which helps us all the way
| | 00:30 | from capture to output, and Lightroom
is one of those tools which helps us
| | 00:35 | connect this workflow.
| | 00:36 | Rather than having to hop and skip or break
up our workflow, it's kind of a one-stop shop.
| | 00:42 | It allows us to create a
workflow which is fluid and cohesive.
| | 00:46 | Yet, before we get to that, I want to
step back for a moment and talk a little
| | 00:49 | bit about how Lightroom fits into
this whole idea of these other tools.
| | 00:54 | In the beginning we had Photoshop of
course, and Photoshop was amazing and it
| | 00:58 | was all that we used.
| | 00:59 | Then all of a sudden Bridge came along,
and Bridge and Photoshop were connected.
| | 01:04 | They were becoming these two
tools that we used together.
| | 01:07 | We started to create the sense of
workflow, where we started in Bridge, selected
| | 01:11 | a photograph, and then opened it in Photoshop.
| | 01:14 | Then all of a sudden Bridge got better,
with the introduction of Adobe Camera RAW.
| | 01:18 | Here we could make these global
corrections, we could start off in Camera RAW
| | 01:23 | and then we could finish
our photographs in Photoshop.
| | 01:26 | But then, as things progressed,
Lightroom came onto the scene.
| | 01:30 | And initially it was a little bit confusing,
or even now for you it may be confusing.
| | 01:35 | Let's say you're coming from that
background of using Bridge and Photoshop,
| | 01:39 | well, how does Lightroom fit into this equation?
| | 01:42 | Where does Lightroom go?
| | 01:44 | Well, really Lightroom was created in a
sense to replace Bridge and Camera RAW.
| | 01:49 | It does what Bridge and Camera
RAW can do, but it does even more.
| | 01:53 | Now, notice that I'm not saying
that Lightroom was designed to replace
| | 01:58 | Photoshop, not at all.
| | 02:00 | Lightroom and Photoshop are really
interconnected, that's why I have this little
| | 02:05 | bit of an overlap here.
| | 02:06 | The official name of Lightroom,
you know what it is, right, Adobe
| | 02:10 | Photoshop Lightroom.
| | 02:12 | Lightroom is part of the Photoshop family.
| | 02:14 | And what's happened is as Lightroom has
gained a little bit of traction and as
| | 02:18 | people have realized the power of
this tool, how it helps us out with our
| | 02:22 | workflow, from capture, all the way to
output, people are using it more and more
| | 02:27 | and they're using Photoshop less and less.
| | 02:30 | Because in a sense it's a condensed
version, it's a tool which allows us to
| | 02:34 | be more effective and creative, and I'll
talk a little bit more about that in a second.
| | 02:39 | Now, I also should point out that we're
not completely getting rid of Photoshop.
| | 02:43 | In my own professional photographic
workflow, I always start with Lightroom;
| | 02:48 | I work on my images there.
| | 02:50 | Yet, if a photograph is going to be a
on a cover of a magazine, or if it's
| | 02:53 | going to be printed in an important way, I
finish that photograph over here in Photoshop.
| | 02:58 | So I still am using these two tools
together in really incredible ways.
| | 03:02 | Now, what about Bridge and Adobe Camera RAW?
| | 03:05 | Well, there still are times and places
when this tool is effective and it's helpful.
| | 03:10 | There are times when you don't want
to have, let's say, some photographs in
| | 03:13 | your Lightroom catalogue for some
reason, you can use Bridge as kind of a
| | 03:18 | window to browse your photographs or
to access other file formats that you
| | 03:23 | can't import into Lightroom.
| | 03:25 | So in a sense I want to create this
diagram just to highlight this idea that
| | 03:29 | while Lightroom allows us to have
this really strong workflow, this isn't a
| | 03:33 | tool that lives by itself, rather
it's part of a suite or a family of other
| | 03:38 | tools that we can use in order to effectively
process and work on and output our photographs.
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| Why use Photoshop Lightroom?| 00:00 | All right! So here I thought it would be helpful
to ask the question why Lightroom, and to
| | 00:03 | answer it by showing you a few pictures
and talking about some of the qualities
| | 00:07 | that I found to be helpful with Lightroom.
| | 00:10 | I love this comparison here of
two different Swiss Army knives.
| | 00:13 | This is the one on the left that those
in the Swiss Army actually use and then
| | 00:17 | over here is one that weighs close to 7 pounds.
| | 00:20 | Now, Lightroom in a sense
is like this tool over here.
| | 00:24 | It's really compact, it's
condensed, it's effective.
| | 00:28 | The tool on the right,
well, it's almost bloated.
| | 00:30 | There are so many features
there that it's almost unusable.
| | 00:34 | And so what Lightroom is all about is
simplicity, it's about how can we be
| | 00:39 | really most effective.
| | 00:40 | And each tool that's included here
say on this knife is really evaluated.
| | 00:46 | Is this a core super important
tool, super important feature?
| | 00:51 | Well, if it is, it's going to be included there.
| | 00:53 | Another reason why Lightroom is good in
regards to workflows, it allows us to have focus.
| | 00:59 | Here are a couple of photographs of
World Champion Surfer, Kelly Slater.
| | 01:03 | Whenever you're around someone who is
the best in the world, you see something
| | 01:08 | different in their eyes;
| | 01:10 | they have a different type of focus.
| | 01:12 | And Lightroom is one of these tools which
allows us to have this really sharp focus.
| | 01:17 | I'm here to work on my images.
| | 01:19 | I'm not here to do all these other
kind of crazy effects or creative kind of
| | 01:23 | off-the-wall things, but
the core is photography.
| | 01:27 | How do I make my photographs more compelling?
| | 01:30 | Lightroom is also about extending our vision.
| | 01:33 | It is a creative tool in the sense
that it helps us think beyond things.
| | 01:37 | It helps us process our files or
extract data from our files that we couldn't
| | 01:41 | have extracted in any other way;
| | 01:43 | in other words, Highlights and Color and
Tone and Detail and Clarity and Sharpness.
| | 01:48 | It helps us think about
photographs in an extended way.
| | 01:53 | It helps us lift our photographs from
that raw state, that raw capture, we'll
| | 01:57 | talk about that later, to something
which is polished and complete and
| | 02:01 | intriguing and engaging.
| | 02:03 | Another thing that Lightroom does is
it helps us improve our overall speed.
| | 02:09 | It helps us become more quick.
| | 02:10 | Now, this isn't just speed for speed's
sake, rather it's about speed in order to
| | 02:15 | get to the good stuff.
| | 02:17 | And by having a tool which
connects workflow, which I've been kind of
| | 02:20 | talking about a lot here, it speeds up that
process so that we can get to the good stuff.
| | 02:26 | Another reason why Lightroom is a
powerful tool is that it creates a workflow
| | 02:30 | which is cohesive, and bridges do that,
right, they connect one spot to another;
| | 02:36 | help us cross this body of water.
| | 02:38 | Now, Adobe Bridge is really effective
in doing that, but Lightroom, it just
| | 02:42 | takes it to a whole another level and, again,
we'll talk more about this in this course.
| | 02:46 | It also helps us get into
the details of our photographs.
| | 02:49 | So we have this broader picture of
connecting our workflow and also this smaller
| | 02:54 | picture of making sure our images
are picture perfect, so to speak.
| | 02:59 | Another aspect of Lightroom which I think
is important is it gives us this context.
| | 03:05 | This is an older photograph of my office,
where I teach at the Brooks Institute
| | 03:09 | in Santa Barbara, California, and
there is something important about space.
| | 03:12 | My dad, who designed and built the
home that I grew up in, taught me that.
| | 03:16 | When you enter into a room, it
affects you creatively in a certain way, and
| | 03:21 | Lightroom in a sense does that.
| | 03:23 | It's designed in a way to be
relatively minimal, we can minimize and
| | 03:27 | customize the interface in a way that
the space can help us focus in on the
| | 03:32 | image, to be more creative.
| | 03:34 | Whenever I talk about space in the
classroom, I always like to raise this
| | 03:37 | question in regards to your own space.
| | 03:41 | What do you need to do to transform it
into being a greenhouse for creativity?
| | 03:46 | Now, Lightroom, the tool, does that,
we enter into Lightroom, it's a really
| | 03:50 | clean and elegant interface, and it
helps us to be more creative, but what about
| | 03:54 | the rest of your workspace?
| | 03:56 | Because getting good at Lightroom,
it's not just about software;
| | 04:00 | it's about becoming a better photographer.
| | 04:03 | And part of becoming a better photographer
really is your own space, your workspace.
| | 04:08 | So I wonder what you could do today
to perhaps improve that, to make it a
| | 04:12 | greenhouse for creativity. All right!
| | 04:14 | Moving back to this whole idea of workflow;
| | 04:17 | well, here I'm again trying to ask this
question, at its core what is Lightroom
| | 04:21 | and how is Lightroom different, or
integrated with these other tools?
| | 04:25 | Well, it helps us as we capture images,
import them, and finally output those pictures.
| | 04:31 | And one of the reasons why I like
Lightroom personally is that it helps me get
| | 04:35 | to my other passions.
| | 04:37 | I'm all about software which simplifies
my own workflow, so that I can be more
| | 04:41 | effective, be more creative, capture
those images that I really want to capture,
| | 04:45 | and then also get out in the ocean,
which is something I absolutely love, in a
| | 04:50 | sense that Lightroom helps us
get to those other passions.
| | 04:53 | It's not a tool which is so consuming
that it takes so much time to learn and to
| | 04:58 | work with, rather it's a tool which
helps us to be nimble, to be creative, to be
| | 05:02 | effective, so we can get to those other things.
| | 05:05 | So in sum, Lightroom 4, what's it about?
| | 05:09 | Well, here are the things, at least in
my mind, that I think of with Lightroom;
| | 05:13 | helps us to be quick, speed.
| | 05:15 | It's a simple application.
| | 05:17 | Helps us to be more creative and
enhances our passion, focuses in on those
| | 05:21 | details to be more
precise and it expands vision.
| | 05:25 | And for me, I think Mark Riboud said it
best, Photography, it's about savoring
| | 05:30 | life at 1/100th of a second.
| | 05:33 | And so this tool has helped enhance my
overall workflow, it's helped ignite my
| | 05:38 | workflow with a bit more of passion.
| | 05:40 | Now, for you, you'll have to
make that decision for yourself.
| | 05:43 | And I think it's helpful to step back
and think about this tool in this sense,
| | 05:47 | it was created by photographers,
really for photographers, in order to have a
| | 05:51 | more effective, efficient,
and creative workflow.
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2. Working with the Photoshop Lightroom InterfaceThe Photoshop Lightroom interface| 00:00 | Here I want to introduce you to the
Lightroom interface and a few helpful
| | 00:03 | shortcuts which will help you navigate
around Lightroom and work with this tool
| | 00:07 | a little bit more effectively.
| | 00:09 | This will also help us develop a common
vocabulary, so you know how to refer to
| | 00:13 | the different elements of Lightroom. All right!
| | 00:15 | Well, I have a few slides
here I want to go through.
| | 00:17 | You can see that what I am going to do
with these slides is dim out an area of
| | 00:20 | Lightroom so we can focus on
one particular aspect of it.
| | 00:24 | Starting off at the top, up there
we have the Menu Bar, and immediately
| | 00:28 | underneath that we have the different Modules;
| | 00:31 | in the right-hand side, those
are called the Module Pickers.
| | 00:34 | We can click on the names of the
different modules in order to navigate to them.
| | 00:39 | There also are some shortcuts we can use as
well to navigate to those different modules.
| | 00:43 | Then in the middle of Lightroom we
have what's called the Work Area, this is
| | 00:47 | where we'll be viewing our
photographs and this is true regardless of the
| | 00:51 | different module we're working on, we
can view the slideshow, or the print,
| | 00:55 | or the web gallery, or whatever it is we're
working on, we'll view that in that Work Area.
| | 01:00 | Next we have the Panels.
| | 01:03 | The Panels on the left and the right
are really important, because in Lightroom
| | 01:08 | this is where all the controls are,
this is where we're going to make all the
| | 01:11 | changes and do all the
stuff that we do in Lightroom.
| | 01:15 | Moving to another element of the
interface, below the Work Area we have
| | 01:19 | what's called the Toolbar.
| | 01:21 | Now, the Toolbar, we can do a lot of
different things with and what we do here
| | 01:25 | will really depend on some
of the options that we set up.
| | 01:28 | Yet the Toolbar will become
really important for us in regards to a
| | 01:31 | few different aspects.
| | 01:32 | Then beneath everything, at the bottom
we have what's called the Film Strip.
| | 01:37 | Now, the Film Strip gives us a
wonderful way to access our photographs.
| | 01:42 | We can also choose to display some
information down there which describes
| | 01:46 | our photos, whether it's a label, or
the way the image has been processed,
| | 01:50 | or the type of photograph.
| | 01:51 | So again, Film Strip gives us the
ability to access and to also identify some
| | 01:55 | important things that we've done
to our photographs. All right!
| | 01:58 | Well, that's the Lightroom interface,
now that we've been introduced to it,
| | 02:02 | let's move back around, and here what I
want to do is highlight a few shortcuts.
| | 02:07 | Now, I know there are users out there who
absolutely love shortcuts and others who don't.
| | 02:11 | Well, one of the things that I've
found is true with Lightroom is that there
| | 02:15 | aren't a ton of shortcuts, and taking
some time to learn some of the essential
| | 02:19 | shortcuts can really help
you out. Here are a few.
| | 02:23 | In the Toolbar you can see we have the
ability to add Flags, Stars, or Labels.
| | 02:28 | Now, for Flags you can press P for
Pick, U for Unpick, or X for Reject.
| | 02:33 | For Stars, press 1-5 to add the star
rating of 1, 2, 3, 4, 5. Labels, it's 6-9.
| | 02:42 | So if you're taking notes, I'd
recommend you write those down, because they are
| | 02:45 | indeed some helpful shortcuts.
| | 02:47 | There's another shortcut for
the Toolbar, it's the T key.
| | 02:51 | This is definitely one I'd write down,
because occasionally you'll accidentally
| | 02:54 | press that and the Toolbar will be
hidden and you won't know how to get it back.
| | 02:58 | Well, simply press the T key to either
hide or show that Toolbar. Next, the Panels.
| | 03:05 | Now, the Panels are important, right,
that's where all the controls are in
| | 03:08 | Lightroom, that's where all the
sliders and everything, where we work on our
| | 03:12 | images will do in that area.
| | 03:14 | Well, sometimes those Panels take up
too much space, so there are a few helpful
| | 03:18 | shortcuts that we can use.
| | 03:20 | Tab, it will hide or show those Panels
on the side, and then Shift+Tab, it will
| | 03:26 | hide or show everything, so we can
really just focus in on the image.
| | 03:31 | So again, if you were taking notes,
I'd recommend you write down Tab and
| | 03:34 | Shift+Tab equals hide and show
different parts of the interface.
| | 03:38 | You don't have to really memorize what
each one does, but just know that those
| | 03:42 | two shortcuts will help
you work with the interface.
| | 03:45 | Then we have some shortcuts which allow us
to minimize specific areas of the interface.
| | 03:51 | F5, we can show or hide
the top of the interface.
| | 03:55 | F6, down below, that's the Film Strip,
and then you can see F7 and F8 work
| | 04:00 | on the various Panels.
| | 04:01 | Now, you may be thinking, okay,
well, why would I want to do that?
| | 04:04 | Well, sometimes what you'll find is
you'll just work on the Panel in the right,
| | 04:08 | you don't need the left-hand Panel,
it's taking up too much screen real estate,
| | 04:11 | well, you can hide it, and you can
do so with a shortcut. All right!
| | 04:16 | Let's take a look at a couple more.
| | 04:17 | Another helpful shortcut
is the F key for Fullscreen.
| | 04:22 | That helps you to expand Lightroom to
take up the most amount of space so you
| | 04:26 | can really focus in on the work you're doing.
| | 04:28 | Another shortcut that's
good is L for Lights Out.
| | 04:31 | This is going to help you dim aspects of the
interface so you can focus in on the image.
| | 04:36 | And then the last one I want to
highlight here has to do with our Modules.
| | 04:40 | You can work with these modules
and you can actually right-click or
| | 04:43 | Ctrl+Click up there in that Module
Picker area to show or hide the modules
| | 04:48 | that you use most frequently. All right!
| | 04:50 | Well, back to the interface.
| | 04:52 | Now, so far we've taken a little bit of
this tour, and I've talked about a few
| | 04:56 | of the shortcuts, and I wanted to do
that before I started actually using the
| | 05:01 | shortcuts, because I find it's helpful
to step back and just kind of absorb the
| | 05:06 | interface, absorb some of the shortcuts.
| | 05:08 | But then next of course what we need to do
is see some of those shortcuts in action.
| | 05:14 | We'll go ahead and explore how we can
use those shortcuts, and we'll see them
| | 05:17 | alive and in action in the next movie.
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| Using the interface shortcuts| 00:00 | All right! Now that we've been introduced to the
interface and know a little bit about some
| | 00:03 | of the essential shortcuts, let's go
ahead and take a look at how we can use
| | 00:07 | those here right inside of Lightroom.
| | 00:09 | One of the things that you may want
to do is navigate to different modules.
| | 00:13 | One way to do that is of course to click
on the different name of the module and
| | 00:17 | the Module Picker up here, that will
then navigate or take you to that module.
| | 00:21 | Now, I'm in the Develop, click on
Library, I'm back to the Library Module.
| | 00:25 | Another thing that you might want to
do in regards to the interface is change
| | 00:29 | the way that these modules
actually appear up here in the Picker.
| | 00:33 | If you don't want to include all of them,
let's say, you're not a fan of the Map
| | 00:36 | Module, you don't use that at all.
| | 00:38 | All that you need to do is in this area,
right-click or Ctrl+Click and then you
| | 00:43 | can select to Uncheck one of those and
now that module is gone, or that button
| | 00:48 | for the module is gone.
| | 00:49 | You can still navigate to it if you need to.
| | 00:52 | In order to get to it you go to the
Window pull-down Menu and there you can
| | 00:56 | see it is right there.
| | 00:58 | You just won't have that button up here in
the top in this Module Picker area. All right!
| | 01:03 | Well, let's right-click or Ctrl+Click
and turn that back on, just so we can have
| | 01:07 | this back reset to normal.
| | 01:10 | Another area that we talked
about of course were the Panels.
| | 01:13 | We discussed how we can show or hide
the Panels on the left and the right.
| | 01:18 | To do that, you can press the Tab key
that gives you more focus, more area on
| | 01:22 | the image, press the Tab
again and it comes back.
| | 01:26 | Now, you may remember there was another
shortcut that was very similar to Tab,
| | 01:30 | but it's just adding the Shift key.
| | 01:32 | Shift+Tab, what it will do is hide
all of these different elements of the
| | 01:36 | interface, press it again, Shift+Tab,
and it brings all of those
| | 01:40 | interface elements back. All right!
| | 01:42 | Well, what about the Toolbar
which is sitting beneath the image?
| | 01:45 | Well, you can press the T key for Toolbar
to show or hide that aspect of the interface.
| | 01:52 | Now, a great thing about that is if we
press Shift+Tab to hide everything and
| | 01:56 | then T to hide the Toolbar, well, now
we're really just left with the image and
| | 02:01 | we can focus in on that or show
that image to a client or friend.
| | 02:06 | Well, let's say we've gotten to this
point and we want to bring everything
| | 02:09 | back, how do we do that?
| | 02:11 | You remember the shortcut, right?
| | 02:12 | Shift+Tab, Shift+Tab brings all of that back,
and then the T key will bring back the Toolbar.
| | 02:19 | Now, with any of these shortcuts, if
you feel like I'm going too fast, you can
| | 02:23 | always pause this movie and rewind it
and watch it again so that you can pick up
| | 02:28 | these essential shortcuts. All right!
| | 02:30 | Well, a couple of others that are
really important, they have to do with how we
| | 02:35 | can dim an aspect of the interface and
also take up a lot of screen real estate.
| | 02:40 | Well, let's look at the Dimming or
Lights Out feature, the L key, what it will
| | 02:45 | do is it will slowly turn the lights out;
| | 02:47 | press it once and things are dimmed,
press it again and lights are completely
| | 02:52 | out and you're left with that
image there in the center Work Area.
| | 02:56 | Press it again and you
can bring everything back.
| | 02:59 | Another great shortcut to go to the
different Fullscreen Modes is the F key.
| | 03:03 | Press F once, you can see I'm in this
Fullscreen, I've completely hidden the menu up top;
| | 03:09 | press it again, I can come back to
where I now have more of the interface
| | 03:13 | and, again, you can keep pressing F to
toggle through those different Fullscreen Modes.
| | 03:17 | All right!
| | 03:18 | Well, I don't want to barrage you with
too many shortcuts, there are just a few
| | 03:22 | more here I want to share
with you in the beginning.
| | 03:24 | That is the F keys, you can press the F keys;
| | 03:27 | F5 hides what's up top, move my cursor
there, and then F6, the Film Strip down below;
| | 03:35 | F7, the Panel on the left;
| | 03:37 | and then F8 the Panel on the right.
| | 03:39 | And again, the reason why you might
want to do this is you may want to set this
| | 03:42 | up so you have a lot of area to work on
an image, maybe you're on your laptop,
| | 03:47 | you can focus on that and then work on
some of the different controls over here.
| | 03:51 | You're not losing screen real estate
or screen space to part of the interface
| | 03:55 | that you're not really working on.
| | 03:57 | If ever you get to a spot like this and
you forget which F Key does what, well,
| | 04:02 | use that shortcut, which is Shift+Tab,
press it once and press it again and it
| | 04:07 | will bring everything back, so that in a
sense almost allows you to reset almost
| | 04:11 | the entirety of the interface.
| | 04:13 | Another quick comment about shortcuts
as we make our way through this course,
| | 04:19 | there will always be a way
to navigate without shortcuts.
| | 04:22 | So if ever you don't want to use a
shortcut, don't worry about it, there's no
| | 04:26 | loss to navigating simply by clicking.
| | 04:28 | Yet, it may be helpful to start to pick
up a few of these in order to increase
| | 04:33 | your effectiveness, in
order to increase your speed.
| | 04:36 | So I encourage you to take some notes
on these shortcuts and keep in mind that
| | 04:40 | as we work our way through this course,
I'll be repeating these over and over
| | 04:44 | again, and what I think will happen
is that after hearing them a few times
| | 04:48 | you'll be picking them up and in no
time you'll be navigating really quickly by
| | 04:52 | working with these different
navigational and interface shortcuts.
| | Collapse this transcript |
| Working with panels| 00:00 | Now I want to talk a little bit about
how we can navigate and work with the
| | 00:03 | Panels inside of Lightroom.
| | 00:05 | Now, as I've said before, the Panels
are really important, because it's in the
| | 00:08 | Panels where we're going to
find all of the different controls.
| | 00:11 | One of the things that you can do with
the Panels is you can show or hide them
| | 00:15 | by way of a shortcut.
| | 00:16 | You can also click to show or hide them.
| | 00:19 | Let me show you how this works.
| | 00:21 | Over here on the right-hand side of the
interface you'll notice a little triangle.
| | 00:24 | If you click that, what that allows
you to do is to hide that Panel Group.
| | 00:29 | Now, if you want to bring it back just
hover over this and you'll have access to
| | 00:32 | all of the different controls
here and you can work in this way.
| | 00:35 | Now, when you move your cursor off,
all of a sudden that will be hidden.
| | 00:40 | If you want a lock it so that it stays
visible, all you need to do is to simply
| | 00:44 | click this triangle.
| | 00:45 | Now, this type of viewing works with
all of the different areas of Lightroom,
| | 00:49 | the Left Panel, the Module area,
or the Film Strip below as well.
| | 00:53 | Another way that you can work with the
Panels is by hovering over the edge of the panel.
| | 00:59 | When you do that, you'll notice your
cursor changes, so that you have this
| | 01:03 | line and two arrows.
| | 01:05 | Well, when you see that, all that you
need to do is simply click and drag to
| | 01:09 | increase or decrease the size of that panel.
| | 01:13 | What about navigating to the different
controls that we find here in these Panels?
| | 01:17 | Well, one of the things that you can do
is you can expand or open up the Panels.
| | 01:22 | Here we can see we have different Quick
Develop controls, open up Keywording, we
| | 01:27 | have all of the different
options for adding Keywords.
| | 01:30 | Now, these Panels open and
close in an accordion fashion.
| | 01:34 | In other words, right now what I have
to do is I have to scroll in order to get
| | 01:39 | down to the other Panels.
| | 01:40 | If you have a three button mouse, you
can also hover over this area and use that
| | 01:44 | scroll wheel to scroll up and down.
| | 01:48 | Now, as you can imagine all of this
scrolling, it can get a little bit tedious,
| | 01:52 | especially say when you
go to the Develop Module.
| | 01:55 | I'm going to click on the word
Develop just to go there briefly.
| | 01:58 | And here you can see I have different Panels.
| | 02:01 | Well, if I have all of these open,
I'll go ahead and open a few of them, it's
| | 02:05 | going to be pretty tedious to scroll up
and down to get to the various controls.
| | 02:10 | Well, there has to be a
better way, right? Well, there is.
| | 02:13 | It's a shortcut.
| | 02:15 | Now, this shortcut is a little bit of
an advanced technique, yet I think it's
| | 02:19 | helpful to introduce here, just so that
you know that it exists, and so that as
| | 02:24 | you progress through Lightroom, as
your skills get better and better, you can
| | 02:28 | start to integrate the
shortcut into your workflow.
| | 02:30 | Let me show you what it is by way of a slide.
| | 02:33 | I am going to go ahead and jump to that
slide here briefly, and let's take a look.
| | 02:37 | What you can do is you can navigate to
the different Panels, by pressing Command
| | 02:42 | on a Mac, Ctrl on Windows, and then a
number, depending on how many Panels there
| | 02:47 | are in the particular module.
| | 02:49 | So if you want to go directly to Detail,
you press Command+5 or Ctrl+5 and that
| | 02:54 | will open or close that panel.
| | 02:58 | Let me show you how this works in Lightroom.
| | 03:00 | And let's close up all of these, so we
have a nice compact accordion view of
| | 03:07 | these different panels.
| | 03:08 | Now, as I mentioned, I can use a
shortcut to open or close any of these.
| | 03:13 | On a Mac I'm going to press Command, on
Windows that's Ctrl, and then 1 to open
| | 03:18 | or close the Basic Panel.
| | 03:20 | And here you can see I can do that
by simply pressing that shortcut.
| | 03:23 | And what's nice about this shortcut
is while it seems maybe a little bit
| | 03:28 | confusing at first, all you have to
remember is Command on Mac, Ctrl on Windows
| | 03:33 | and then your number keys.
| | 03:35 | And you can just start to press those
number keys and essentially teach yourself
| | 03:39 | which number is associated with which panel.
| | 03:42 | Keep in mind that we're talking
about the Panels on the right.
| | 03:46 | The reason why I'm focusing on those
is because those are the Panels that
| | 03:49 | you'll be using most frequently, and
these shortcuts work whether we're in
| | 03:54 | Develop or Map or Library. Let's take a look.
| | 03:57 | Here I'll go to the Library Module,
and just to illustrate I'm going to close
| | 04:00 | all of these for starters, and here
I'll press Command+2 or Ctrl+2 to open up
| | 04:04 | Keywording, press it again to close it,
and so on and so forth, you can see how
| | 04:09 | we can navigate to these different Panels.
| | 04:11 | Now, again, as I mentioned before, if
these shortcuts seem a little bit too
| | 04:15 | advanced for you, don't worry about it,
you may want to just jot those down
| | 04:19 | because they may become more helpful
later as you develop more advanced skills.
| | Collapse this transcript |
| Customizing the identity plate and module pickers| 00:00 | In the top left corner of the
Lightroom interface you will notice there is
| | 00:03 | what's called in Identity Plate.
| | 00:05 | You can actually customize this
Identity Plate, you can change the typography,
| | 00:09 | or you can add your own graphic that
you've created in another application.
| | 00:13 | Let's take a look at how we can do that.
| | 00:15 | Navigate to the Lightroom pull-down
Menu and then select Identity Plate Setup,
| | 00:20 | this will open up the Identity Plate Editor.
| | 00:23 | Now, in order to enable the Custom
option, you need to click on this checkbox
| | 00:27 | here, you'll notice that it's updated,
it's changed, it now says CHRIS ORWIG.
| | 00:32 | Well, I can change this, I'll go ahead and
type out all caps, CHRIS ORWIG PHOTOGRAPHY.
| | 00:36 | And there we have it, it updates up top.
| | 00:38 | You can also customize this further.
| | 00:41 | You could highlight, say for
example, one word, in this case the word
| | 00:44 | PHOTOGRAPHY, click on the Color Chip,
and then choose a new Color for this,
| | 00:48 | and you can see it's updating that up here in
this view and also down here in this view as well.
| | 00:54 | Another thing that we can do in
regards to customizing this is of course to
| | 00:58 | change the typography altogether.
| | 01:00 | I am going to highlight all of this
and then go to my Font pull-down Menu and
| | 01:05 | I'll scroll way up till I find a font
that I want to use here, say a font that's
| | 01:09 | used in my logo, and then I'll select that.
| | 01:13 | To change the size, it's really simple,
we'll just go ahead and decrease the
| | 01:16 | size here like that.
| | 01:17 | So you can see that you can really
customize this in a pretty unique way so that
| | 01:21 | Lightroom in a sense has your mark on it.
| | 01:23 | Now, this is really helpful when
you're showing clients your work and you're
| | 01:26 | using Lightroom to do so.
| | 01:28 | Another way that you can customize this
even further is to use what's called a
| | 01:33 | Graphical Identity Plate.
| | 01:35 | Let's click on that option.
| | 01:36 | You notice it says we can paste
or drag an image into the space.
| | 01:40 | Images can contain transparency.
| | 01:43 | So we can use different types of file formats.
| | 01:45 | Let's take a look at a few examples that
I've created and I've included with the
| | 01:49 | Exercise Files in this training course.
| | 01:52 | Here I'm going to go ahead and click
on Locate File, this will take me to my
| | 01:56 | Exercise Files folder for this course here.
| | 01:59 | There's a subfolder called Resource Files,
and I have two different Identity Plates.
| | 02:03 | One which is identity_plate
and one is identity_plate_long.
| | 02:07 | Let me select one of these just
so we can see what this looks like.
| | 02:10 | You can see it has my name and
photography and a few images in it.
| | 02:14 | Here I'll click Choose in order to
add that and it shows up, up top.
| | 02:19 | Now, keep in mind, this is just a demo
or an example file, you can really design
| | 02:24 | almost anything and include that here.
| | 02:27 | I've included a couple of
sample files, as I mentioned.
| | 02:29 | I want to show you those in Photoshop
so you can get a sense for how you could
| | 02:34 | create your own custom Identity Plate.
| | 02:36 | Inside of Photoshop I have these two
sample files, you'll notice the first one,
| | 02:40 | it's just a black background, some
images, and then some typography.
| | 02:44 | Now, you can do anything here,
the sky really is the limit.
| | 02:47 | The thing you want to keep
in mind is your Image Size.
| | 02:51 | You want to create a
document that's 57 pixels high.
| | 02:54 | So if I go to Image Size for this
document, you see it's 57 in Height.
| | 02:59 | Now, the Width really depends on the
type of Identity Plate you want to create.
| | 03:04 | Let's take a look at this long one.
| | 03:06 | Over here one option is images and
typography, or I could change the layers so I
| | 03:11 | have the word CHRIS ORWIG really big
in the background and then perhaps a
| | 03:15 | smaller version of my name there.
| | 03:17 | This one extends pretty far,
it's a long or wide document.
| | 03:21 | Well, if I save these changes here and
go back to Lightroom, and then choose
| | 03:26 | that file, let's take a
look at what happens here.
| | 03:30 | Well, now once I choose this one, you
can see that what happens or what shows up
| | 03:34 | is that background graphic, the really
long version, it goes back behind the
| | 03:38 | Module Picker and then I
have my name there as well.
| | 03:41 | So what's nice about this is you can
either have a short or less wide Identity
| | 03:46 | Plate or a really long one.
| | 03:47 | When you're thinking about designing
your own, you may want to consider using
| | 03:50 | the typography that you use for your
branding, or if you have a mark or a logo.
| | 03:55 | Also, you want to keep it somewhat
simple so it doesn't kind of overwhelm or
| | 03:59 | overpower the interface. All right!
| | 04:00 | Well, another way that we can customize
the interface here is we can change the
| | 04:05 | way the Module Picker appears.
| | 04:07 | Let's say, for example, I wanted to use
the same font as I'd used over here, I
| | 04:11 | could then choose that.
| | 04:12 | Let's go ahead and go back to that
one, it was Century Gothic, I think.
| | 04:16 | You can see it updates that there, and I
can change the Font Size, and I'll make
| | 04:20 | this much smaller, let's say you prefer
a really small typography, or whatever
| | 04:25 | it is, you can make those changes.
| | 04:27 | You can also change the different colors,
either the color once it's selected or
| | 04:31 | the color if it isn't selected.
| | 04:33 | You can do that by using these two chips.
| | 04:35 | Now, just to exaggerate, I am going to
turn that Red so we can see that it's
| | 04:39 | showing me I'm in the Library
Module, that is now bright red.
| | 04:42 | Let me make that a little bigger for you
so you can actually see it. All right!
| | 04:46 | Well, as you can see, we can do quite a
bit here in regards to color and whatnot.
| | 04:50 | Let's change the other color, again,
just something really bold and strong so
| | 04:54 | you can see how that works.
| | 04:56 | Well, let's say that we've made some
changes, like I've made these here and we
| | 05:00 | don't like them, no big deal, all you
have to do is to click Cancel and it will
| | 05:05 | reset it back to where it was previously.
| | 05:08 | Now, at any point if you want to
customize that further, just go back to
| | 05:12 | Lightroom, choose Identity Plate Setup,
and then you can enable the Custom
| | 05:17 | option, and let's just go with something
really simple, like this here for a moment.
| | 05:21 | In order to apply that or to choose
that, you simply click OK, that will then
| | 05:26 | remember those settings.
| | 05:28 | And again, what's nice about this is
there is lot of flexibility, you can make
| | 05:32 | changes to this at any point.
| | 05:34 | In my case, just to keep things kind of
standard for this course, I am going to
| | 05:38 | take this back to the default setting.
| | 05:40 | So I will go to Lightroom>Identity Plate
Setup, and then click this checkbox off
| | 05:45 | so that it goes back to those
default settings, and then click OK.
| | Collapse this transcript |
| Customizing interface elements| 00:00 | Here we're going to take a look at a
few steps that we can take in order to
| | 00:03 | further customize the Lightroom interface.
| | 00:06 | We're going to begin by looking at
the Lightroom Interface Preferences.
| | 00:10 | You can find those by navigating to
the Lightroom pull-down Menu and next
| | 00:15 | then select Preferences.
| | 00:17 | What we want to do here in the Preferences
dialog is click on the tab for Interface;
| | 00:22 | it's on the far right.
| | 00:23 | Well, here you'll notice we
have some Groups of Preferences;
| | 00:26 | Panels, Lights Out, Background, etcetera.
| | 00:29 | Let's start at the top.
| | 00:30 | Well, Panels, you'll notice there's a
default End Mark, this Flourish, well, we
| | 00:35 | can choose something different here,
say like Ornament 1, it will then update
| | 00:39 | what's displayed at the base of the panel.
| | 00:42 | We can also choose an option say None
in order to turn that off completely.
| | 00:46 | Again, this is just a preference;
| | 00:48 | it's up to you what you select.
| | 00:49 | I'll take this back to
that default setting for now.
| | 00:52 | We also have an option for
the Font Size with these Panels.
| | 00:56 | By default the Font Size is Small;
| | 00:58 | you can choose Large, yet if you choose
that, it will warn you, this font change
| | 01:02 | will only take effect once you've
quit and then restarted in Lightroom.
| | 01:06 | So just make sure to close it out and
then reopen it and you'll see the change.
| | 01:10 | Well, what about Lights Out, you may
remember there's a shortcut, it's the L
| | 01:16 | key, it deems the interface, it darkens it.
| | 01:19 | Well, you can actually have it turned to
Lights Out and darken the interface, or
| | 01:23 | brighten it, in a sense kind of
turn the lights on or turn them up.
| | 01:27 | Let me show you what I mean.
| | 01:28 | By default the Screen Color is
Black and the Dim Level is 80%.
| | 01:32 | Let's explore what that looks like.
| | 01:34 | Here I will press L once, it dims to 80% Black;
| | 01:38 | press it again, it's now completely Black.
| | 01:40 | Press it a third time,
brings everything back to normal.
| | 01:43 | Well, if we go back to our Lightroom
Preferences and then go to the Interface
| | 01:48 | tab over here, we can change this say
to something different, like Dark Gray,
| | 01:52 | Medium Gray, or White.
| | 01:54 | If we choose White what will happen
is when we press the L key rather than
| | 01:58 | dimming everything, it just brightens it,
brightens it at 80% of White, and then
| | 02:03 | one more time it goes completely White.
| | 02:05 | Press it that third time,
brings everything back to normal.
| | 02:09 | Navigate back to the Lightroom
pull-down Menu and choose Preferences, you
| | 02:12 | can see we have these different options,
and really this is just a personal preference.
| | 02:17 | You know what happens is when you
surround an image with White, the image seems
| | 02:21 | a little bit brighter.
| | 02:22 | It also feels like it has less
Contrast and less Color Saturation.
| | 02:26 | When it's surrounded by Black, it feels like
it has more Contrast, more Color Saturation.
| | 02:31 | So again, it's just a personal preference there.
| | 02:34 | And the Dim Level, we have a few
options as well, this is how drastic you want
| | 02:37 | that dimming to actually take place.
| | 02:40 | What about the Background?
| | 02:42 | If we move the Preferences dialog off
for a second, you can see that we have
| | 02:46 | this Medium Gray in the background.
| | 02:49 | You can change that, this could go White,
as you can see here, or we could take
| | 02:53 | this all away to deep Black.
| | 02:55 | And again, just a personal preference,
by default it's Medium Gray, because most
| | 02:59 | people say this mid-tone or Medium
Gray helps you evaluate the image a little
| | 03:04 | bit more objectively, it's a little bit
less influenced than it would be if it
| | 03:08 | were bright White or dark Black.
| | 03:10 | Now, you can include a Texture, just a
Pinstriped Texture if you wanted to have
| | 03:14 | that in the Background behind the image, in
order to add perhaps a little bit of separation.
| | 03:18 | I am going to choose None, again,
just to take it to that default setting.
| | 03:22 | Now, this is for the Main window
obviously, the secondary window would be as if
| | 03:26 | you're running Lightroom with two
monitors and if you have a secondary display.
| | 03:30 | Next, Keyword Entry, we'll skip that,
that will be relevant later when we
| | 03:34 | talk about metadata.
| | 03:35 | We'll jump right down to Filmstrip.
| | 03:37 | Now, in the Filmstrip what you
can do is display different things.
| | 03:40 | Here it shows the ratings and
picks, badges, stack counts.
| | 03:44 | Shows the photo in the navigator, I'll
mouse over and show photo on info tooltips.
| | 03:49 | Here if you look down in the bottom
left-hand corner you can see there's a
| | 03:52 | little red box around it, showing it has a
red label on it, a flag and a star rating.
| | 03:58 | Now, all of the information we can
either show or hide by clicking on
| | 04:02 | these options and you'll notice as I
turn these off, it will show or hide
| | 04:06 | those various options.
| | 04:08 | When you're getting used to Lightroom
and you're starting off I recommend you
| | 04:11 | turn all those on, because sometimes
that information can be really helpful.
| | 04:15 | The last little preference I want to
look at here has to do with Tweaks, and
| | 04:19 | this one is to zoom the
clicked point to the center.
| | 04:23 | This is really helpful.
| | 04:24 | Let me show you what I mean.
| | 04:25 | So that's turned on, and what I am
going to do is scroll down just to
| | 04:29 | find another image here, one way down at
the end here, and I'll select this photograph.
| | 04:34 | Now, if I click up here in this top
area of the trees, what will happen is it
| | 04:38 | will zoom in, but it will then
bring that to the center of the screen.
| | 04:42 | In other words, it's not going to keep
that up in the top part of the screen.
| | 04:45 | The same thing will be true if I
click on say the dress down here below, it
| | 04:49 | brought that dress right
to the middle of the screen.
| | 04:52 | Now, that's really helpful, because
it is assuming that wherever you click,
| | 04:56 | wherever you're zooming into, you want to
see that point that you've clicked into.
| | 05:00 | So I recommend that you turn or
leave that preference on as well.
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| Creating a custom panel end mark| 00:00 | In a sense, you can think of this
movie as a little bit of a bonus movie,
| | 00:03 | because what I want to share with you
here are just a few little extra tips
| | 00:07 | which will help you further customize
the Lightroom interface in a way that's a
| | 00:11 | little bit more easy to modify and
also I want to share with you a technique
| | 00:16 | that you can use in order to create
and work with custom Panel End Marks.
| | 00:20 | Well, first the shortcuts;
| | 00:21 | the shortcuts are really easy.
| | 00:24 | We have this medium gray behind our
image and previously we looked at how
| | 00:28 | we could change that.
| | 00:30 | We change that by going
to the Preferences dialog.
| | 00:32 | Well, you can also make that change
by hovering over that area and then
| | 00:37 | right-clicking or Ctrl+clicking and
making a selection, and again, you can do
| | 00:41 | this in any area here, just make
your selection and it will update that
| | 00:46 | background color or for that matter,
the texture as well. All right!
| | 00:50 | Right-click or Ctrl+click, it's as easy as that.
| | 00:53 | We can also do the same thing with our Panel
End Marks, either on the right or left hand side.
| | 00:59 | You move over to the Panels and right-click
or Ctrl+click and then at the
| | 01:03 | bottom, it gives you access to
your Panel End Mark dialogue.
| | 01:07 | Here we could choose something different.
| | 01:09 | And that will then update the end mark.
| | 01:11 | If you want to change it, right click
or Ctrl+click and then you can do that
| | 01:15 | again, again just make a
different choice for that option.
| | 01:19 | Now you can also create a custom graphic
and you can include that custom graphic here.
| | 01:25 | This might just be kind of a fun
way to further customize Lightroom.
| | 01:28 | Let me show you how this works.
| | 01:30 | What you can do is create
this graphic in Photoshop.
| | 01:33 | Let's jump to Photoshop for a second
and I have two that I have created.
| | 01:37 | Now these I have included with the
Exercise Files, so you can work with these or
| | 01:41 | you can create your own.
| | 01:43 | And let's start off with
this one here, Panel end_mark_1.
| | 01:46 | You will notice that if we turn off
the visibility of these layers, have
| | 01:50 | a background color and I've chosen a gray
which matches that gray color in Lightroom.
| | 01:55 | I then have some text and then also a
little graphic there and then my own flourish.
| | 02:02 | Now all that you need to do is to design
something in Photoshop and save it out.
| | 02:06 | Now what you want to keep in mind
is that the dimensions matter here.
| | 02:09 | If you go to the Image Size dialog,
you'll notice that we have a specific
| | 02:13 | dimension in regards to our
Width, 236, write that number down.
| | 02:17 | That's how wide you want this to be
height or 172 or taller, it doesn't matter,
| | 02:22 | that's really up to you how tall you
want it to be or short for that matter, but
| | 02:26 | the Width is important.
| | 02:27 | Well, then you'll notice I have another one,
this one just a little bit more simple.
| | 02:31 | Two different options and then
I can see which one I like best.
| | 02:35 | Well, in order to apply this or to
use this graphic I've created, I need to
| | 02:39 | go back to Lightroom.
| | 02:41 | In Lightroom, I can go the Preferences
dialog or I can simply right-click or
| | 02:45 | Ctrl+click and in the Panel End Mark
dialogue, there's an option to Go to the
| | 02:50 | Panel End Marks Folder.
| | 02:52 | This will open up your Finder or Explorer
window and it will take you to that folder.
| | 02:57 | Here it is on the right,
Panel End Marks, nothing in it.
| | 03:00 | Then I have my Exercise Files over here, I
have these two files that we have worked on.
| | 03:06 | I can select these and then I'll
copy them over to that folder there, and
| | 03:10 | once they're inside of that folder, I can
then access them from right inside of Lightroom.
| | 03:15 | Let's go back to Lightroom to
see how we can finish this off.
| | 03:17 | Here we'll click back on Lightroom,
right-click or Ctrl+click and then in this
| | 03:22 | Panel End Mark dialogue, you will
notice I have my two options there.
| | 03:25 | There is option number one, that one is
alright, maybe a little bit too dramatic
| | 03:29 | or bold or big, right-click or
Ctrl+click, let's see what option number two
| | 03:33 | looks like, and there is one
that's a little bit more simple.
| | 03:36 | So again, just a few extra bonus tips
which will help you hopefully to further
| | 03:41 | customize the Lightroom interface.
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| Using module tips| 00:00 | Here I want to briefly share with
you a helpful tip in regards to getting
| | 00:03 | familiar or getting acquainted
with the Lightroom interface.
| | 00:07 | These tips are called walk-through tips
and in each module, what you can do is
| | 00:11 | navigate to the Help pulldown menu and
here you can select Library Module Tips.
| | 00:17 | This will then open up what are
called these walk-through tips.
| | 00:20 | If you click Next, you can navigate
through these various tips and these will
| | 00:24 | help you become acquainted
with this particular module.
| | 00:27 | Now these tips work in every single module.
| | 00:30 | For example, if we navigate to the
Development Module, we can go to Help
| | 00:34 | pulldown menu and here
choose Develop Module Tips.
| | 00:37 | This will then take us through the
tips for this particular module and really
| | 00:41 | get us acquainted with some of the
features and tools that we can use in
| | 00:44 | these various modules.
| | 00:46 | So again, if you want to get familiar
with the Lightroom interface, navigate to
| | 00:50 | a particular module, go tot the Help
pulldown menu, and then look for those
| | 00:53 | walk-through tips for that particular module.
| | Collapse this transcript |
|
|
3. Importing Images and Video FilesImporting images and looking at file formats| 00:00 | Because Lightroom is a workflow
application and because it has this built-in
| | 00:05 | database catalog, how we import
our images is really important.
| | 00:09 | In other words, if we get it wrong or
if our Preferences are off, we are really
| | 00:13 | going to pay for it in the long run.
| | 00:15 | Because of this, I find it helpful to
kind of break down this whole process of
| | 00:19 | importing our photographs.
| | 00:21 | What I want to do here is simply
start off by talking about what are the
| | 00:24 | different file types that we can import
and what are a few considerations that
| | 00:29 | are worth keeping in mind with
those different file formats.
| | 00:32 | Well, for starters, we can import
a wide range of different types of
| | 00:36 | documents whether they are JPEGs or
TIFF files, Photoshop documents, RAW
| | 00:41 | files, CMYK or movie files.
| | 00:43 | Now what do we need to consider
with these different file formats?
| | 00:47 | Well, the first thing that we need to
consider is that if we are going to work
| | 00:50 | with this PSD format,
there is a specific preference.
| | 00:55 | Now I've taken a picture of this
preference, it has to do with maximizing PSD
| | 00:59 | and PSB file compatibility.
| | 01:02 | Now you may be thinking okay
Chris, why does this really matter?
| | 01:05 | Well, it matters because a lot of
times what happens is we've worked
| | 01:09 | in Photoshop a lot.
| | 01:10 | We have all of these documents, all of
these old Photoshop files, we are gong
| | 01:14 | to import in and as we move forward, we
are going to continue to work with Photoshop.
| | 01:19 | So if we are going to choose this
PSD format, there's a really important
| | 01:23 | preference we have to consider.
| | 01:25 | What I want to do here is open up the
Photoshop Preferences dialog and talk
| | 01:29 | about this preference. So here it goes.
| | 01:31 | Let's go into Photoshop and go to File Handling.
| | 01:35 | Now previously, what you most
likely chose here is in Maximize File
| | 01:39 | Compatibility, you may have selected Never.
| | 01:42 | What this would do is it would just save
your file as is, not adding anything else.
| | 01:47 | Another option would be to choose Always or Ask.
| | 01:52 | Now if you choose Always, what happens
is, is it saves with this layered file
| | 01:57 | inside of that also a
flattened version of the document.
| | 02:00 | Now you never see this "extra
flattened version", but you experience it in
| | 02:05 | increased file size.
| | 02:07 | One of the reasons why you might want
to do this is if you're sending this
| | 02:10 | Photoshop document to someone who's
using a much older version of Photoshop, pre
| | 02:15 | layers, or maybe if they are going to
view this file in another application.
| | 02:20 | Well, for most of us this wasn't very
relevant, so we didn't use this option.
| | 02:24 | The last option would be Ask.
| | 02:26 | This is where you get to choose.
| | 02:27 | Do you want it to have this
File Compatibility or not?
| | 02:31 | Now previously in my own
workflow, I chose this option.
| | 02:34 | I said, if this is a Photoshop doc that
I want to use in Lightroom, well, yes,
| | 02:39 | let's maximize that
compatibility, if it isn't, then no.
| | 02:43 | But in reality now, because we are
using Lightroom so much, what I've turn this
| | 02:47 | to is Always, because I don't want
to have to worry about whether or not
| | 02:51 | Lightroom can read that file.
| | 02:53 | Now you have to make your own decision
on which option will work best for you,
| | 02:57 | but the one I recommend is Always.
| | 02:59 | It will increase your file size, but it
will allow you to import and work with
| | 03:03 | those Photoshop documents in Lightroom.
| | 03:06 | Now another option, to skip this altogether,
would be just to use this TIFF file format.
| | 03:11 | It's much more flexible and it
works much better with Lightroom.
| | 03:15 | So that maybe something to consider as
you move forward and you think about how
| | 03:19 | you are going to save your files
out from Photoshop in the future.
| | 03:22 | Another thing that we need to
consider is this RAW file format.
| | 03:25 | Now the RAW file format is really interesting.
| | 03:28 | This could be an NEF file from a Nikon
camera or a CR2 RAW file from a Canon
| | 03:34 | camera or whatever, and Lightroom supports
all of these different types of file formats.
| | 03:40 | Yet there's one file format that a lot
of Lightroom users have adopted and it's
| | 03:44 | called the DNG format.
| | 03:46 | We'll be talking about this format more
throughout the course, but for now what
| | 03:50 | I want to highlight is that this format
what it does is it kind of wraps like a
| | 03:54 | container around the image, like a
Tupperware container and it gives us
| | 03:58 | archival confidence.
| | 03:59 | And what this will allow us to do
hopefully is to access this file and work
| | 04:03 | with it into the future.
| | 04:04 | It also allows us to compress the file
in a unique way in order to decrease the
| | 04:09 | file size without losing quality.
| | 04:12 | And now new in Lightroom 4, we have
this ability to create what are called Fast
| | 04:17 | Load DNG files and also Lossy Compression files.
| | 04:21 | Again, I'll deconstruct this a bit more,
but here I just want to highlight that
| | 04:24 | the DNG file format is more important
than ever and it may be something worth
| | 04:29 | looking into, worth considering as
you look at importing your files.
| | 04:34 | Again, more on that format later,
but I just want to highlight it here.
| | 04:37 | The last thing I want to point out is
that now inside of Lightroom, we can work
| | 04:41 | with different movie formats,
AVI, MOV, MP4, AVCHD and more.
| | 04:47 | Lightroom allows us to import and work
with movie files from our smartphones or
| | 04:52 | from our DSLRs or from video cameras
and what's great about this is so much of
| | 04:58 | us are starting to shoot video.
| | 04:59 | We have RAW files sitting next to
video files and now we can start to kind of
| | 05:04 | bring those files together, organize them,
access them, and even work on them in
| | 05:08 | some pretty interesting ways.
| | 05:10 | We'll talk about that topic later,
but here again, I am just trying to
| | 05:13 | highlight, we have these different
file formats and there are a few things to
| | 05:16 | think about as we're working
with these file formats. All right!
| | 05:19 | Well, now that we've looked at that,
the next step is to take a look at our
| | 05:23 | Importing Preferences and
let's do that in the next movie.
| | Collapse this transcript |
| Importing preferences| 00:00 | Before importing your photographs
into Lightroom, there are a couple of
| | 00:03 | preferences you might
want to consider turning on.
| | 00:06 | In order to do this, let's navigate to our
Lightroom pulldown menu and then go to Preferences.
| | 00:12 | The first thing I want to highlight
here is in the General tab, the one import
| | 00:15 | option I think you want to
turn on for sure is this one.
| | 00:19 | This allows you to show the Import
dialog whenever a memory card or memory
| | 00:23 | card reader is detected.
| | 00:25 | This automatically opens up that dialogue.
| | 00:27 | So you can get going.
| | 00:28 | The next thing that I want to
highlight here has to do with File Handling.
| | 00:32 | I've mentioned that DNG format a
little bit and many people use Lightroom in
| | 00:36 | order to convert their files to the DNG format.
| | 00:39 | Now if you are going to do that, you
want to dial in these preferences here.
| | 00:43 | The File Extension, typically you
want to go with is lower case that's
| | 00:46 | consistent with other types of extensions.
| | 00:49 | In Compatibility, you want to choose
the most recent version of Camera RAW.
| | 00:53 | This will give you the ability
to have the most flexibility.
| | 00:57 | Now Camera RAW has constantly been
updated and what I recommended is you stay up
| | 01:01 | to speed with that and always
use the latest and greatest, right.
| | 01:04 | There really isn't a reason not to choose that.
| | 01:07 | And then next is JPEG Preview.
| | 01:09 | Medium Size will be fine.
| | 01:11 | And then we have this new option, new
to Lightroom 4 Embed Fast Load Data.
| | 01:16 | This allows Lightroom to create a DNG
file which actually can be read in the
| | 01:21 | Develop Module eight times faster
than previous versions and it only adds a
| | 01:26 | really small amount of file size, just
a few hundred K. So that's an option you
| | 01:31 | definitely want to turn on.
| | 01:33 | The next option I recommend you leave
off which is Embed Original RAW File.
| | 01:39 | What this would do is it
would create the DNG file.
| | 01:41 | It also would include in that the
original RAW file which is just going to
| | 01:46 | increase your file size quite significantly.
| | 01:48 | Next, we need to look at File Name Generation.
| | 01:52 | One of the things you may want to do
is Treat the following characters as
| | 01:55 | illegal and choose the option of just
all of the kind of strange characters.
| | 01:59 | What can happen is if you name a file
accidentally using an odd character, it
| | 02:05 | can become unstable, so ideally, you
want make sure you're not using any of
| | 02:10 | those strange characters and just
using letters or dashes or underscores.
| | 02:15 | Next, Replace illegal filename
characters with dashes or underscores.
| | 02:20 | This is just a preference and you want to
choose whichever one works in your own workflow.
| | 02:25 | Now if you have a space in between the
file name, ideally you don't want that.
| | 02:31 | So rather than choosing Leave As-Is,
you want to select Replace with an
| | 02:34 | Underscore or a Dash, and
again, just be consistent whatever you've
| | 02:38 | chosen here, choose here or vice versa.
| | 02:42 | Again, just make sure those two are consistent.
| | 02:44 | The reason why that's helpful is
because files with spaces between them are a
| | 02:48 | little but less stable.
| | 02:50 | There also can be problems when those
files are read on different operating systems.
| | 02:55 | So it's a good idea to make sure your
File Naming Generation is good, and by
| | 02:59 | choosing these settings here, it will
ensure that those files will be read and
| | 03:03 | you won't have any
problems with them. All right!
| | 03:05 | Well, now that we have these few
preferences dialed in, we are ready to import
| | 03:09 | our photographs and we'll
do that in the next movie.
| | Collapse this transcript |
| Introducing the Import dialog| 00:00 | Let's take a look at how we can start
to import our photographs and our video
| | 00:03 | files into Lightroom.
| | 00:05 | In order to do this, we want to
access what's called the Import dialog.
| | 00:09 | There are a couple of ways to do this.
| | 00:11 | If you're in the Library Module, as I
am here, you can either click on this
| | 00:15 | Import button, you'll find it in the
lower left-hand corner, or you can navigate
| | 00:19 | to the File pulldown menu and
choose Import Photos and Video.
| | 00:24 | This will open up our Import dialog.
| | 00:26 | Now this Import dialog is kind of
interesting and it's interesting for a couple
| | 00:30 | of reasons, in a sense, the
interface or the layout mirrors Lightroom.
| | 00:35 | You will notice we have panels on the
left and the right and then we have kind
| | 00:40 | of a work area here in the middle.
| | 00:42 | The thing that you want to think about
with this Import dialog is that the flow
| | 00:46 | is left to right, top to bottom.
| | 00:49 | In other words, if we look at the top,
we can select the source, what images
| | 00:53 | are we going to import.
| | 00:55 | Then how do we want to import those files?
| | 00:57 | Do we want to copy them, move them, add them?
| | 00:59 | And then finally where are we
going to copy these files to?
| | 01:03 | Let's take a look at how we could do this.
| | 01:06 | On the left-hand side, you can
see I have this Source panel.
| | 01:09 | We can open and close this
and select different sources.
| | 01:13 | Here what I am going to choose is my
Desktop>Exercise Files, the Exercise
| | 01:17 | Files for this course.
| | 01:19 | Now once I've done that, it shows
me it's coming from this location and
| | 01:23 | I've dialed in these settings and I am kind
of good to go to the next step so to speak.
| | 01:28 | Well, moving from the left to the
right, I now have four different options.
| | 01:34 | If I choose Copy as DNG, what this will
do is it will convert all of these files
| | 01:38 | to this DNG format, put them in a
new location, add them to the catalog.
| | 01:44 | If I choose Copy, it will maintain
their file format, keep them as they are.
| | 01:48 | JPEG will stay a JPEG, move them to a
new location, add them to the catalog.
| | 01:53 | It will create a duplicate
version of all those files.
| | 01:57 | Now if I choose Move, what will happen
is it will simply relocate these files.
| | 02:02 | A JPEG will stay a JPEG or
whatever file format it is.
| | 02:06 | It will just simply put
those files in a new spot.
| | 02:09 | Then the final option is at the Add.
| | 02:12 | Now Add is the option I want
to use here and here's why.
| | 02:15 | I already have my photographs organized.
| | 02:17 | There is a main folder Exercise Files,
a subfolder, Photos, and then some
| | 02:22 | subfolders inside of that.
| | 02:24 | The reason why I want to choose Add is
because I don't want to change my folder structure.
| | 02:29 | Now this would be like if you already
have your images organized on a hard drive
| | 02:34 | and you don't want to mix it all up or
change it all up, you just want Lightroom
| | 02:38 | to recognize those files, you just want
Lightroom to know those files are there.
| | 02:43 | You want Lightroom to be
able to access those files.
| | 02:45 | So in that case, we are
just going to choose Add.
| | 02:48 | Now keep in mind, I'll show you some of
the other options later, but for here,
| | 02:51 | as far as getting familiar with this
interface, Add is going to be our best
| | 02:55 | selection for this setup where we
already have images which are organized.
| | 03:00 | Next, in the middle, you can see that we
can choose different photographs to import.
| | 03:05 | I can go ahead and choose Uncheck All.
| | 03:07 | Now I am not going to import any image.
| | 03:09 | I could then scroll to a photograph
that I want to import, say, this one here
| | 03:13 | and then click on the checkbox.
| | 03:14 | So now I am only going to import one photograph.
| | 03:17 | It also shows me that in
the bottom left hand corner.
| | 03:21 | Now if I am trying to select this
image to import, it's kind of hard to see,
| | 03:26 | right, because it's so small.
| | 03:28 | Well, there are two distinct views
that we can have here in this dialogue.
| | 03:32 | You can access these views by way of
a shortcut or by a nice little icon.
| | 03:36 | If we click the larger icon, it gives
us what's called the Loupe View or if we
| | 03:41 | click on the smaller grid,
it gives us a Grid View.
| | 03:44 | You can change that by pressing G or E key.
| | 03:48 | Let's choose another
image like this oak tree here.
| | 03:50 | The E key takes me to the Loupe View or this
bigger view, G key takes us back to the Grid View.
| | 03:57 | Now you can also select multiple images.
| | 04:00 | So, for example, one image selected,
hold down the Shift key and then select
| | 04:05 | another, all of these are
now highlighted or selected.
| | 04:08 | If I want to import all of them, well,
I'll click on the checkbox, they are
| | 04:12 | now all checked off.
| | 04:14 | If I don't want to import any of these,
click on the checkbox, now they're all unchecked.
| | 04:19 | So again, it makes it really easy to
choose which images you want to bring in.
| | 04:23 | Now in this case, of course, I want to
bring in everything, so I am going to
| | 04:27 | click Check All so that I can
bring in all of these photographs.
| | 04:30 | Well, now that I have made these
choices, I've determined which images I am
| | 04:35 | going to bring in, I have viewed them,
larger or smaller, I am ready to move to
| | 04:40 | my final option over here which is
where I am going to import these.
| | 04:44 | Where are these files going to live?
| | 04:46 | Now if we open up this File Handling dialog,
we have what's called a Render Preview.
| | 04:52 | Now this Render Preview is
actually kind of important.
| | 04:54 | It's so important that what I want to do
is stop this movie here and then in the
| | 04:59 | next movie talk a little bit about our
Render Preview options, so we can make
| | 05:03 | sure to choose the correct option and
then we'll pick up where we left off and
| | 05:07 | continue importing in the movie after that.
| | Collapse this transcript |
| Setting catalog preferences and import and preview options| 00:00 | An important step in importing your
photographs into Lightroom is considering
| | 00:03 | the File Handling options.
| | 00:06 | After you've selected, say, the
folder you're been import, how you want to
| | 00:09 | import those, in this case Add.
| | 00:12 | We have this File Handling panel.
| | 00:13 | Now we have a couple options for Render
Previews, Minimal, Embedded, Standard or 1:1.
| | 00:19 | Now Preview is really important,
because choosing this option will help
| | 00:23 | Lightroom figure out how you
want to work with these files.
| | 00:26 | And what it will do is it can generate a
preview in the background, so you don't
| | 00:30 | have to wait every time you click,
you have to wait for the preview to be
| | 00:33 | generated, you can just get onto your
work and work in Lightroom effectively.
| | 00:37 | So understanding these various
options can be really helpful for looking at
| | 00:42 | different ways of working with Lightroom.
| | 00:44 | Because of that, what I want to do is
jump to a few slides and see if we can
| | 00:48 | deconstruct or understand how these
options actually work and how these options
| | 00:52 | also connect to a catalog
settings that we may want to change.
| | 00:56 | Let me go ahead and jump to my
slides here and talk a little bit about
| | 01:00 | File Handling Previews.
| | 01:02 | Again, we've seen this dialog, we have
seen that there are these four options.
| | 01:07 | These options are really
about speed versus quality.
| | 01:10 | Now what do I mean by that?
| | 01:12 | Well, the top two options allow us to
have quicker previews of our images,
| | 01:18 | Minimal is the absolute quickest, yet
it's not that high of a quality of a
| | 01:23 | preview, it's not that accurate,
Embedded & Sidecar is little bit better, but
| | 01:28 | again it's just the embedded preview
that you get, say when you shoot in raw
| | 01:32 | capture, all RAW files have a little
JPEG in them, that's how we view the image
| | 01:36 | on the back of the LCD screen on our cameras.
| | 01:39 | So again it's a good but it's not perfect.
| | 01:41 | On the other hand, we have Standard and 1:1.
| | 01:45 | These are a higher-quality preview.
| | 01:47 | Standard allows us to select a pixel
dimension, so that when we see this image,
| | 01:53 | we can see it in a way that it's
accurate to the color and tone all these
| | 01:57 | things and we can make a decision on how we
might want a process it or work with the file.
| | 02:02 | 1:1, that creates a
preview that is just everything.
| | 02:06 | Now you may be thinking well, why
not just choose 1:1, I mean that seems
| | 02:10 | like the best bet right.
| | 02:12 | Well sometimes you can have too much
information and that can take too much time
| | 02:17 | and it kind of bog down your workflow.
| | 02:20 | In my own experience, I
shoot with a Canon 5D Mark II.
| | 02:23 | I find that Standard works really
well and that that's the best option,
| | 02:27 | giving me good quality.
| | 02:29 | It takes a while to
generate it but it's well worth it.
| | 02:33 | The other thing to keep in mind
with File Handling is this idea of that
| | 02:36 | this connects to a catalog
settings, I mentioned this before.
| | 02:39 | And if you look at these two dialogs,
they both have to do with File Handling.
| | 02:43 | They both have to do with the
Standard Preview size which again is the most
| | 02:46 | common preview size.
| | 02:48 | You can choose a certain pixel
dimension with this and basically you want to
| | 02:53 | choose something, which is close
to the resolution of your monitor.
| | 02:57 | The other option is Preview Quality.
| | 03:00 | This dialog allows you to choose high
medium or low, which is a little bit
| | 03:04 | vague in my opinion.
| | 03:06 | What exactly is this?
| | 03:07 | Well, High gives you a pro photo color
space or a wider gamut color space, more
| | 03:13 | colors, more accuracy, Medium and
Low, less colors, less accuracy.
| | 03:18 | Lightroom uses this really big color
space, it taps into a lot of the data in
| | 03:23 | the digital file which helps us to
process them in really powerful ways.
| | 03:27 | This preview of High gets closer to
being able to see what that is, pro photo is
| | 03:32 | really close to the color
space that Lightroom uses.
| | 03:35 | So that may be a preference
that you want to consider.
| | 03:38 | Now that we've seen this in the slides,
let's go back to Lightroom and take a
| | 03:42 | look at how we can dial in
these preferences ourselves.
| | 03:45 | First of all we have seen that we can
choose the different options, I should
| | 03:49 | also point out why would
you want to use Minimal.
| | 03:51 | That could be great when you're the
wedding photographer, you just want a quick
| | 03:55 | preview and then create a
slideshow at the wedding.
| | 03:58 | You are not really concerned about
evaluating the image in this full form or on
| | 04:04 | the other hand if you're a photographer
like me who does a commercial, personal,
| | 04:07 | or editorial shoot and then comes back
the computer and really wants to sit down
| | 04:12 | and work, really wants to see the
information of the file, Standard is probably
| | 04:16 | going to be the best bet there.
| | 04:18 | Of course, this all depends on how
you shoot, what you shoot, what type
| | 04:22 | of camera you have.
| | 04:23 | But again, my recommendation is to try standard.
| | 04:26 | Before you import what you want to do
though is go to your Catalog Settings
| | 04:30 | Preference, so I am going to cancel
out of there and navigate to Lightroom
| | 04:35 | Catalog Settings and navigate to File Handling.
| | 04:38 | Now here's where I can
choose that Standard preview size.
| | 04:41 | If I am on my desktop and I have a
pretty high resolution monitor, well, I am
| | 04:45 | going to choose a preview
size which is much higher.
| | 04:48 | If I am on a little teeny
laptop, may be something smaller.
| | 04:52 | So again, it's going to be
contingent upon your own workflow.
| | 04:56 | Next step is Preview Quality, here
typically High is best, it gives you a more
| | 05:01 | accurate preview, and then if you do
generate 1:1 previews which will happen
| | 05:06 | when you zoom in on files and whatnot,
it's asking you how often you want to get
| | 05:10 | rid of those, because those take up
a lot of space as you can imagine for
| | 05:14 | generate a high-res preview from
a pretty high end capture camera.
| | 05:18 | So the default setting there
of 30 typically works best.
| | 05:22 | Well now, that we've looked at some of
these options that we have to consider
| | 05:25 | with importing and also some of the
catalog settings, let's go ahead and take a
| | 05:29 | look at how we can finish off this whole
process of importing photographs from a
| | 05:33 | folder and let's look at how we
can do that in the next movie.
| | Collapse this transcript |
| Importing from a folder| 00:00 | One more thing to consider when
importing photographs and video files from a
| | 00:03 | folder is what you want to
apply to these files upon import.
| | 00:07 | Now there is panel on the right-
hand side that gives us a few options.
| | 00:11 | One of them is Develop Settings.
| | 00:13 | Here if you click on this pulldown
menu, you will notice there are many
| | 00:16 | different presets that are preinstalled
in Lightroom and you can apply these to
| | 00:20 | all the photographs.
| | 00:22 | Now here we don't want to do this
but just know that that is an option.
| | 00:25 | Another thing that you might want to do
is to add some metadata to these files.
| | 00:30 | One way to do that is to create
what's called a Metadata Preset.
| | 00:34 | Let's go ahead and create a new
preset so that we can use this when we
| | 00:37 | are importing our files in the
future for this set and also for other
| | 00:40 | sets of photographs. All right!
| | 00:41 | Well, the preset I am going to
do here is Copyright Chris Orwig.
| | 00:46 | If you're on a Mac you can create that
copyright symbol by pressing Option+G, if
| | 00:51 | you're on Windows I believe you can press
Ctrl+Alt+C to get that symbol. All right!
| | 00:56 | Well, not that we have that preset name
I am going to go down to the copyright
| | 00:59 | and I am going to add that down here as,
well because all of these files are
| | 01:04 | mine, make sure they are copyrighted.
| | 01:05 | And I am just going to add that, a
simple metadata preset and then hit Create.
| | 01:10 | Now, of course, if you want to add
other types of information here that are
| | 01:13 | relevant to the files that you
are importing, go ahead and do that.
| | 01:17 | I am just keeping this simple
for demo purposes. All right!
| | 01:20 | Well, I will click Create here and
then you can see I now have that preset.
| | 01:24 | So upon import of all of these
photographs, they will now have this
| | 01:28 | metadata copyright.
| | 01:30 | I can also add some keywords.
| | 01:32 | A keyword could be something which
explains what type of files these are.
| | 01:36 | I am going to go ahead and just say
Lightroom Demo is one of my keywords,
| | 01:40 | because these are all demo files
for Lightroom course. All right!
| | 01:43 | Well, now that I've added that
information, I am ready to import these files.
| | 01:47 | Yet before I do, I want to go
through just a couple more things here.
| | 01:50 | Let's move over to the left.
| | 01:51 | You remember that you start off by
choosing the folder or choosing this
| | 01:56 | Exercise Files folder.
| | 01:58 | You want to make sure to have Include
Subfolders clicked on and you can either
| | 02:01 | check that off here or click on
it in the center of the screen.
| | 02:05 | Now once you've done that,
it shows you all of the files.
| | 02:08 | The next step, of courses, to go to the top.
| | 02:10 | What do you want to do with these?
| | 02:12 | In this case, we are just adding them.
| | 02:13 | We want them to stay where they are.
| | 02:16 | We just want Lightroom to know that they exist.
| | 02:18 | Next, we move to the right,
we choose our Render Preview.
| | 02:21 | What's that's going to be?
| | 02:22 | Typically it's Standard.
| | 02:23 | That typically works best, and then
apply during import, we are going to choose
| | 02:27 | this Metadata Preset and
then perhaps add a few keywords.
| | 02:32 | Now if you want to add more than one
key word what you could do is go ahead and
| | 02:36 | add a comma and then type another
one, which I'll add another one just for
| | 02:40 | the fun there lightroom
demo and lynda.com. All right!
| | 02:43 | Well, now that we've gone through all
that, we are ready to import these files
| | 02:47 | and here we will simply click the Import button.
| | 02:49 | What will happen is Lightroom will now
pick up where these files are and then
| | 02:53 | next, it will render those previews.
| | 02:55 | So it's a two-step process and what's
great about this is it brings in all
| | 03:00 | these files and while it's rendering
these previews, we can go ahead and do our
| | 03:04 | work in other words we can start to
scroll and look at the images we could
| | 03:07 | select one that we want to work on,
double-click it to take it to this Loupe
| | 03:11 | View mode and be on our way.
| | 03:13 | In other words, the rendering of the
previews that you see up here doesn't hold
| | 03:17 | us back from working on these files. All right!
| | 03:21 | Well, now that that import is complete,
there's one more thing on a look at here.
| | 03:24 | If we open up our Folders panel, you'll
notice that it is now added or imported
| | 03:29 | these images and video files and it's
just following the same structure of the
| | 03:34 | way that those files and folders were already
organized and that's a great thing about this.
| | 03:39 | For some people, the word Import is a
little bit misleading, because it sounds
| | 03:43 | like it's moving things or
changing something, it really isn't.
| | 03:47 | All that's happening here is
Lightroom now knows these files exist.
| | 03:52 | It keeps this folder structure and
file location just the same. All right!
| | 03:55 | Well, that wraps up our conversation
about how we can import photos and video
| | 04:00 | files from a folder.
| | Collapse this transcript |
| Importing photos from a CF card| 00:00 | We're going to go through the process
of importing our photographs and video
| | 00:03 | files from a CompactFlash card.
| | 00:05 | One of the things that you want to do
before you actually begin to import your
| | 00:08 | files from a CF card is set
up an important preference.
| | 00:12 | I want to remind you of this.
| | 00:14 | If you go to your Lightroom pulldown
menu and then select Preferences, in the
| | 00:19 | General tab, the first time there,
there's an Import option, which is to show
| | 00:23 | the Import dialog when a
memory card is detected.
| | 00:26 | So, make sure that that checkbox is turned on.
| | 00:29 | Once you have that turned on, the next
up, of course, is to simply connect your
| | 00:33 | CF card reader into your CF card and
what that will do as it will automatically
| | 00:38 | open up this Import dialog.
| | 00:40 | Now here on the left you can see that
what's happening is its going to import
| | 00:43 | the photographs from this CF card.
| | 00:46 | You want to make sure to turn on Eject
after import that will then eject that,
| | 00:50 | so you could import a different card afterwards.
| | 00:53 | And then you want to look at the photographs.
| | 00:55 | Here we have 40 pictures that I
captured recently and in particular what I want
| | 01:00 | to do here is I want to
select just a few images to import.
| | 01:04 | Sometimes you import all of your
photographs and that's typically what you do,
| | 01:09 | other times you may decide you know what,
this image isn't very good because of
| | 01:12 | exposure or of the subject matter and so
you can uncheck an image and not choose
| | 01:18 | to import that particular photo.
| | 01:20 | What you can do as well is you can
evaluate your pictures in an interesting way.
| | 01:24 | There are three photographs here of a
photography student named Becky that I am
| | 01:28 | interested in importing.
| | 01:30 | And these pictures were captured
at a recent Brooks Graduation at the
| | 01:34 | photography school where I teach.
| | 01:36 | We were all dressed up in our caps
and our gowns and I was the last person
| | 01:40 | in the row of faculty.
| | 01:41 | Right behind me were the students and
so I captured a few pictures of them.
| | 01:45 | Well, I want to evaluate these pictures
because I was shooting into the sun and
| | 01:49 | I want to see if these might work to import.
| | 01:52 | One of the ways you can evaluate these
pictures is simply by clicking on one and
| | 01:56 | double-clicking, that will take
the photograph to the Loupe View.
| | 02:00 | You can navigate between the Loupe and
the Grid either by shortcut or by using
| | 02:05 | these little icons down here on the left.
| | 02:07 | So, again, this is the icon for
Grid, this is the icon for Loupe.
| | 02:11 | The shortcut keys are the G for
Grid, E for Loupe. All right!
| | 02:15 | Well, once I am viewing a
picture I could then use my arrow keys.
| | 02:20 | Press the right arrow key to see
another photograph, press the right arrow
| | 02:24 | key to see another one and I can
evaluate these photographs I can also
| | 02:28 | zoom-in on the picture.
| | 02:30 | Notice that when you hover
over it, your cursor changes.
| | 02:33 | Well, that's a little bit too far right.
| | 02:35 | Well, I can change my zoom right here so I
can see if I have good detail in the eyes.
| | 02:40 | Yeah, I do.
| | 02:40 | This image is sharp and
it will work for importing.
| | 02:43 | Now, in this view, this Loupe View, let's
zoom-out for a second, it's not quite so big.
| | 02:49 | There's a checkbox down below,
which is Included in Import.
| | 02:53 | You can check this here.
| | 02:54 | You can also do the same thing in the Grid View.
| | 02:57 | So, let's check that on.
| | 02:58 | Go to the Grid View and you can
see we have the similar checkbox.
| | 03:01 | Well, as I mentioned, I said I
just want to import a few images.
| | 03:05 | So what I am going to do in this
case is Uncheck All and then click on
| | 03:09 | one image, hold down the Shift key, click
on another and then click on that checkbox.
| | 03:14 | All three are now checked or ready to
be imported, because while I was shooting
| | 03:19 | into the sun I kind of like that and I
think there's some fun things we could do
| | 03:23 | with these photographs once
we get them into Lightroom.
| | 03:26 | Next, we need to determine how
we want to copy these files off of
| | 03:30 | that CompactFlash card. Let's move up top.
| | 03:33 | You'll notice out of the four
options only two are lit up.
| | 03:37 | These are grayed out, we
can't use these options.
| | 03:40 | What are our two options?
| | 03:41 | We can choose to copy these photos.
| | 03:43 | This will copy them from the CF card to a
hard drive, and add them to the catalog.
| | 03:48 | Okay, that's a really valid and
good way to bring files into Lightroom.
| | 03:52 | This would maintain the same file extension;
| | 03:55 | they would stay as .CR2 files or
whatever type of files you're capturing.
| | 04:00 | Another option, which is the one I
use in my workflow, is to Copy as DNG.
| | 04:05 | This will convert this from this
.CR2 Canon RAW file to a DNG file.
| | 04:10 | I use the DNG format for a few reasons.
| | 04:12 | One is archival confidence, it gives
me confidence, so I'll be able to use
| | 04:16 | them in the future.
| | 04:17 | There is what's called Lossless
Compression, in other words the files are a
| | 04:20 | little bit smaller without
losing any data. I like that;
| | 04:24 | smaller file size is always a good thing.
| | 04:26 | And then the third reason is that there's
something, which is called Fast Load DNG.
| | 04:30 | It allows you to work up to almost eight
times faster with these images and view
| | 04:35 | those in the Develop Module, and
I'm all about that for speed purposes.
| | 04:40 | Now, I should say that both options are great.
| | 04:42 | So again, choose the one
that matches your own workflow.
| | 04:45 | In my workflow I've adopted this DNG
format and I've really been content with
| | 04:49 | and I think it works extremely well. All right!
| | 04:51 | Well, after you've made that decision the
next up of course is to move over to the right.
| | 04:56 | Let's take a look at our options there.
| | 04:58 | On the right hand side, let's work
from the top down, we have File Handling.
| | 05:02 | Now, we know a little bit about this.
| | 05:04 | Choosing a preview in this
case, Standard will work well.
| | 05:07 | We don't want to import any suspected
duplicates otherwise it'll just turn into a big mess.
| | 05:13 | So, make sure you have that turned on.
| | 05:15 | Then you have this option to make
a second copy to another location.
| | 05:19 | This is kind of fascinating right,
because on Import it actually allows you to
| | 05:24 | backup your files to a different spot.
| | 05:26 | You could have two different hard
drives that you're copying these files to.
| | 05:30 | Ideally, you want to have your images
in at least two ideally three locations.
| | 05:36 | This is one way to start that
process to make sure you're duplicating or
| | 05:39 | replicating your files. All right!
| | 05:41 | Well, that's good.
| | 05:42 | What about file renaming?
| | 05:44 | Well, in this case I know the student's
name, so I want to rename these files to
| | 05:47 | her name here and so you can use
different custom naming conventions.
| | 05:51 | I am going to use Custom Name -
Sequence and then we can add her name here.
| | 05:55 | I am going to go ahead and just type
that out and you can see that I have a
| | 05:58 | Start Number and it
gives me a sample down below.
| | 06:01 | Now, I can change that perhaps a lower
case b there and it'll update that below
| | 06:06 | there as well, which is kind nice.
| | 06:07 | It gives you the ability
to see how this will be.
| | 06:10 | Now with the Extension you can choose
to leave as is or you can go to lower
| | 06:14 | case if you prefer that, and again,
with the DNG format I just recommend that
| | 06:19 | you stay consistent.
| | 06:20 | So, let's go ahead and choose that just to
demo how we can make that extension change.
| | 06:25 | All right!
| | 06:26 | Next step, Apply During Import.
| | 06:29 | Well, I don't want to apply Develop
Setting, I'll work on the images later myself.
| | 06:33 | Metadata, I do want to choose this
Metadata template, (c) Chris Orwig.
| | 06:37 | We created that one in
one of the previous movies.
| | 06:40 | Next, what about a couple of Keywords? Sure!
| | 06:42 | It was a Brooks Graduation, so brooks and then
comma and graduation. There you have it.
| | 06:49 | Well, add those two words.
| | 06:50 | You separate your keywords by a comma.
| | 06:53 | The next panel we want to open is Destination.
| | 06:56 | Now, Destination is really
important because what's going to happen is
| | 06:59 | by default when you're working it's
going to try to save your files to
| | 07:03 | your Pictures folder.
| | 07:04 | Now, this isn't a very good place to
store your files because it's just too buried.
| | 07:10 | I can't tell you.
| | 07:10 | How many people I know who work
with Lightroom and say I can't find my
| | 07:14 | photographs, I don't know where they
went and the reason is because they didn't
| | 07:18 | choose a destination here in this final step.
| | 07:22 | So, what I am going to do
is choose a destination.
| | 07:24 | I want to go to my Desktop.
| | 07:26 | I want to save these in my Exercise
Files folder>Photos and then in the People
| | 07:30 | folder and I want to create a subfolder
and you have this checkbox here that you
| | 07:34 | can use in order to do that.
| | 07:36 | So in this case, I am going to go to
People and when I turn on this checkbox
| | 07:40 | option, you'll notice that what
happens is it actually creates a little
| | 07:44 | subfolder down here.
| | 07:45 | It shows me, it's going to save these
files into this folder location. All right!
| | 07:51 | Well, let's review this and let's review
this just because importing at least in
| | 07:56 | my opinion so important.
| | 07:57 | You want to get this right otherwise
you'll pay for it later. Here's the review.
| | 08:02 | We start off by connecting
the CF card, it picks it up.
| | 08:06 | On the left hand side we
check off Eject After Import.
| | 08:09 | Next, we select all of the images or
deselect certain ones we don't want.
| | 08:14 | We choose which files we want to import.
| | 08:16 | We also may consider zooming-in on the
files by going to the loop view mode,
| | 08:21 | so we can really evaluate a picture to
see if it looks good and we can change
| | 08:25 | that zoom in order to really evaluate
the detail that we captured or didn't
| | 08:30 | capture for that matter.
| | 08:31 | Next, what we want to do is
determine how we want to copy these files on.
| | 08:35 | We can convert to DNG and copy them
to a new location, add to a catalog or
| | 08:40 | we can choose Copy.
| | 08:42 | Moving to the right hand side we have some
File Handling options in regards to previews.
| | 08:46 | You don't want duplicates
perhaps another backup copy.
| | 08:50 | File Renaming, well, we can choose a
custom template any of these here and then
| | 08:56 | add in our own custom text or
whatever we want to do for custom renaming.
| | 09:00 | Applying during import.
| | 09:02 | Well, in this case we can choose to
add perhaps a Metadata preset or some
| | 09:07 | keywords, and again, all of these are
just options, you don't have to follow
| | 09:10 | exactly what I am doing here but I am
trying to give you an idea on some of the
| | 09:14 | settings you may want to consider.
| | 09:16 | Finally, perhaps one of the most
important steps is really defining a
| | 09:20 | destination, making sure you're saving
files to the correct location. All right!
| | 09:25 | Well, after you've dialed in all of
these settings, you're now ready to import.
| | 09:29 | In order to do that, you
simply click the Import button.
| | 09:32 | This will convert these files to this
digital negative format and also import them.
| | 09:38 | And what's going to happen is it's
going to create this subfolder for us, which
| | 09:41 | is really great and bring
those files into Lightroom.
| | 09:44 | And inside of the Library module what we
can do is we can go to that Loupe View mode.
| | 09:49 | You recognize these icons, there's
exactly the same as the Import dialog.
| | 09:53 | The Loupe View we can navigate
to by clicking on this icon here.
| | 09:57 | So, we'll select an image and then go
to that Loupe View, so we can view these
| | 10:01 | images a little bit
bigger so we can evaluate them.
| | 10:04 | We also want to double-check our folders.
| | 10:06 | Here's the folder structure.
| | 10:08 | Did it save these files to the correct location?
| | 10:11 | Yes, it did and yes I
know where that location is.
| | 10:14 | So, we are now good to go and we have
successfully imported our photographs or
| | 10:18 | video files from a CompactFlash card.
| | Collapse this transcript |
| Creating an import preset| 00:00 | Before we completely wrap up our
conversation about importing photographs or
| | 00:04 | videos from a CompactFlash card, I want
to highlight another step that you can
| | 00:08 | take, which is creating an import preset.
| | 00:12 | Now this can be really helpful and
let's take a look at how we could do this.
| | 00:15 | Again, what we'll want to do is
connect our CF card so that we can then open
| | 00:19 | up this Import dialog.
| | 00:21 | Now when we do this, you notice that
what we can do of course is dial in
| | 00:25 | the various settings.
| | 00:26 | We can choose to Import from the CF card,
we know this, how we want to copy it,
| | 00:30 | how we want to handle the files, how we
want to rename those images, etcetera.
| | 00:35 | Well typically, what happens is that
when you're importing to a particular
| | 00:39 | folder, you do that again and again and again.
| | 00:43 | In other words, in most scenarios,
you'll have a folder which maybe just called
| | 00:47 | Photos or My Photographs for
Photography or something like that, and you almost
| | 00:52 | always import into that folder.
| | 00:55 | Now in my own workflow what I
typically do is I import these files and I
| | 00:59 | organize them by date and so these
come into this particular folder by date.
| | 01:05 | I don't put them in a subfolder;
| | 01:07 | they just go into the year and then the date.
| | 01:10 | Now again, whatever is typical for you
in regards to your import settings, it
| | 01:15 | may be a good idea to create a
preset so that you can remember those.
| | 01:19 | And in order to do that, all that you
need to do is to go down to Import preset
| | 01:23 | and then choose Save
current settings as a new preset.
| | 01:27 | You can go ahead and name this and
I'll just name this Chris Orwig - Typical
| | 01:32 | Import or whatever you want to
name it and then click Create.
| | 01:35 | And the nice thing about this is
that you now have this as a preset.
| | 01:39 | And in the Import dialog, when you're in
a hurry what you can do is collapse this.
| | 01:45 | You can collapse this either by clicking
on the icon over here on the left or by
| | 01:49 | pressing the Tab key.
| | 01:51 | The Tab key will toggle this
bigger or smaller. Let's try that.
| | 01:55 | Press Tab once, it becomes big;
| | 01:57 | press Tab again, it becomes small.
| | 02:00 | In other words, you don't need to
dial in all of those different settings
| | 02:03 | because you have them all saved in this preset.
| | 02:07 | And that can be really helpful
especially, say, when you're on location and
| | 02:11 | you're shooting for an entire day,
and you have to clear off a number of
| | 02:14 | CompactFlash cards, or maybe your
assistant is clearing off those cards for you.
| | 02:19 | You can say to that assistant, okay,
well just use this preset and when you
| | 02:23 | import just select the preset,
hit Import and we'll be good to go.
| | 02:27 | So again, creating these presets can
really speed up your overall workflow.
| | 02:32 | And so if you ever find yourself
doing something over and over again ask
| | 02:35 | yourself, well hey, could a
preset help out in this situation.
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|
|
4. Specialized Importing SituationsDrag-and-drop importing| 00:00 | After having covered some of the basics
of importing photographs and video files
| | 00:04 | in the Lightroom, here what I want to
do is take a look at some unique or more
| | 00:08 | specialized situations for importing.
| | 00:10 | I want to start off by looking at how
we can drag photos right into Lightroom.
| | 00:15 | So in order to do this, what I
am going to do is minimize the
| | 00:18 | Lightroom interface.
| | 00:19 | I am just going to make this little
smaller here so that we can see my Desktop.
| | 00:22 | On the Desktop, you'll notice I have
the Exercise Files folder and here all the
| | 00:27 | files over here in Lightroom, but I
have a couple of images outside of that
| | 00:32 | folder and I want to bring those into Lightroom.
| | 00:35 | Well one way to do that is to simply select
the image and then drag it into Lightroom.
| | 00:40 | For example, I am going to select
this photograph of Keith Carter, a great
| | 00:43 | mentor and friend, an amazing
photographer, and on the Mac Operating System, you
| | 00:48 | can either drag this to the Application
icon, in the Dock or on Windows or Mac
| | 00:53 | you can simply just drag
it right into Lightroom.
| | 00:56 | What will happen is it will
open up the Import dialog.
| | 00:59 | Now here you would go through the normal
procedure, and again, it's just a quick
| | 01:04 | way to kind of trigger that Import dialog.
| | 01:06 | So in this case, I want to move this
photograph, I want to move it to a specific location.
| | 01:11 | I am going to put it in this People
folder, not a subfolder there Becky, but
| | 01:15 | just the main People folder and then I
could go through my other settings here.
| | 01:20 | Lightroom will remember what we've done
previously, so there isn't really going
| | 01:23 | to be a huge need to make many changes
here, but just changing this so that it's
| | 01:28 | relevant for this file. All right!
| | 01:30 | Well so far so good.
| | 01:31 | It comes from the Desktop;
| | 01:33 | it's moved over to this
folder here, my People folder.
| | 01:37 | I am ready to go, I simply click Import.
| | 01:40 | Now what will happen is it will bring
that photograph in, we can see that it now
| | 01:43 | lives here inside of this People
folder, and I can view it and work with it
| | 01:48 | right inside of Lightroom.
| | 01:50 | You also will notice that it's gone
from the Desktop, because I use that
| | 01:53 | function of Import which was to Move.
| | 01:56 | It moved this file to a new location which
is now inside of the Exercise Files folder.
| | 02:02 | All right!
| | 02:02 | Well that wraps up our look at how we
can drag and import photos into Lightroom.
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| Auto-importing from a watched folder | 00:00 | Another unique way to import
photographs and video files into Lightroom is to
| | 00:04 | create what's called a Watched folder.
| | 00:07 | This can allow you to automatically bring
in images and video files into Lightroom.
| | 00:13 | Let's take a look at how we can do this.
| | 00:14 | First what I want to do is minimize the
Lightroom interface, so that we can see the Desktop.
| | 00:19 | All right!
| | 00:19 | So I am just making this smaller, so
that we can look at the Desktop, and here
| | 00:24 | on the Desktop, I have my Exercise Files,
I also have this picture of an amazing
| | 00:29 | photographer and friend Erik Almas and
we'll use that as our demo file here.
| | 00:33 | Well, what I want to do next is create a folder.
| | 00:36 | So, on my Desktop on the Mac operating
system, I am going to right-click and
| | 00:40 | then choose New Folder.
| | 00:41 | And this folder I am going to name
just go ahead and call this watched.
| | 00:45 | Now you can name this folder whatever
you want, but just for this demo kind a
| | 00:49 | make sense to name it that, because
this is going to be our watched folder and
| | 00:53 | that will keep things simple. All right!
| | 00:54 | Well, back to Lightroom.
| | 00:56 | In Lightroom, what we want to do is go
to our File pulldown menu, then select
| | 01:01 | Auto Import, next choose, Auto Import Settings.
| | 01:05 | This will open up the
Auto Import Settings dialog.
| | 01:08 | In this dialog, the first step, of
course, is to define the watched folder.
| | 01:13 | Where do we want to import from?
| | 01:15 | So let's go ahead and choose that.
| | 01:17 | I'll click on Choose and I'll go to my
desktop and select that folder and then hit Choose.
| | 01:23 | So now it's going to pull
images from this particular location.
| | 01:27 | Now where do I want to save these files to?
| | 01:30 | Where is it going to move these files to?
| | 01:32 | Well, I need to determine this.
| | 01:34 | So here I'll click Choose and what I
am going to do is go to my Desktop in
| | 01:37 | Exercise Files and I am going to go
to Photos over here and then People.
| | 01:42 | I want this image or these images
that are in this folder to end up in this
| | 01:47 | location here, and again, you can
choose whatever location makes most sense
| | 01:52 | to your own workflow.
| | 01:53 | So here I'll click Choose.
| | 01:55 | Next, do we want to rename this file in any way?
| | 01:57 | No, just keep the filename as is.
| | 02:00 | Next, do we want to
apply any developed settings?
| | 02:02 | Well, we have all of our presets
we could choose or any metadata.
| | 02:07 | Sure I'll have a copyright and then
keywords, perhaps if there is some keywords
| | 02:11 | we want to add or we can always
determine size of the preview.
| | 02:15 | Now in this case, what you typically
would do with a watched folder is have
| | 02:19 | images that you're just the kind of
throw over into that folder every once in a
| | 02:23 | while and you just want them to be
part of Lightroom without even having to
| | 02:27 | really think about it.
| | 02:28 | Without even having to go
through all of that imports stuff.
| | 02:32 | This will take care of it all for you.
| | 02:34 | Because of that, typically the
information and the settings that you're going to
| | 02:38 | apply, are going to typically be pretty
generic and that's what I've done here. All right!
| | 02:43 | Well, these are going to go into a
folder which is called Auto Imported Photos.
| | 02:48 | That's going to be helpful, because I
may need to reorganize things, because
| | 02:52 | again I am just going to kind of
thorough images into that folder, I don't
| | 02:55 | really know what they're going to be.
| | 02:57 | Once they're in Lightroom,
we'll deal with them more later.
| | 03:00 | So let's go ahead and click OK.
| | 03:02 | We've now defined or
setup all of those settings.
| | 03:05 | The next step would be to enable them.
| | 03:07 | We can go back to File and choose Auto
Import and now Enable Auto Import is now lit up.
| | 03:14 | We can click on that and so
this watched folder is now live.
| | 03:18 | It's turned on so to speak.
| | 03:20 | Well let's watch or see how this works.
| | 03:22 | Here we'll select an image, just one
for example, and drag it into that folder.
| | 03:27 | Now what will happen is once it's in
that folder, that's going then queue up
| | 03:30 | this importing process and you can
see it brought that image over into
| | 03:35 | Lightroom, and here in Lightroom,
let's expand this a little bit, so we can
| | 03:39 | actually see the photograph that was
brought in, we can see we now have this
| | 03:43 | picture inside of the Library
Module in this folder Auto Import.
| | 03:48 | Now what's great about this is once this is
inside of here, I could then move this around.
| | 03:53 | In other words, let's say that what I
want to do is bring this image into a
| | 03:58 | specific folder or another location.
| | 04:01 | Well to do that it might be helpful
to go to the Grid View, and in the Grid
| | 04:05 | View, I can see a thumbnail and I
can just drag this to another spot;
| | 04:09 | I am going to move this to another locations.
| | 04:11 | Sure, that's exactly what I want to
do and then it takes it out of my Auto
| | 04:15 | Import folder and puts it
into a more specific spot.
| | 04:19 | The great thing about this is you can
use this watched folder concept to just
| | 04:23 | really bring stuff into Lightroom
quickly into kind of a generic spot, and
| | 04:27 | then once you're in Lightroom, you
can kind of tweak it, move it around to
| | 04:31 | wherever it needs to be.
| | 04:32 | Of course, you can dial this in, in
a way that really makes sense to your
| | 04:37 | workflow whatever that happens to be,
and as you can see, this just adds
| | 04:41 | some flexibility and also some speed when
you want to bring photographs into Lightroom.
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| Importing from iPhoto or Aperture| 00:00 | One of the limitations of the previous
versions of Lightroom was that it didn't
| | 00:03 | allow us to import pictures from other
applications like iPhoto or Aperture.
| | 00:09 | Well now that's changed and what I
want to do here is demo how we can import
| | 00:13 | photographs from application, say, like iPhoto.
| | 00:16 | So, first what I am going to do is
minimize the Lightroom interface, just so we
| | 00:20 | can take a look at a couple of other elements.
| | 00:23 | Well, here on my Desktop, you'll notice
that I have copied over my iPhoto library.
| | 00:28 | Now typically, you'll find
this in the Pictures folder.
| | 00:31 | You can do a couple of searches in
order to find where your iPhoto or Aperture
| | 00:35 | library is stored, but
basically, you want to find that.
| | 00:39 | I am just going to double-click
this in order to open up iPhoto just to
| | 00:42 | illustrate what I have here.
| | 00:44 | These are a number of different
photographs that I capture of some family
| | 00:47 | friends of ours down at a local beach at sunset.
| | 00:51 | And I have these photographs
inside of iPhoto which is great, but I
| | 00:55 | actually want to bring them all into Lightroom,
so I can start working on them in Lightroom.
| | 01:00 | Well how do I do that?
| | 01:02 | Well I am going to hide iPhoto here,
navigate to the iPhoto pulldown menu and
| | 01:06 | than just choose Hide iPhoto.
| | 01:08 | What I really need to do is
to work with this library.
| | 01:12 | There are a couple of
different ways to access this.
| | 01:15 | Inside of Lightroom, you can go to
the File pulldown menu and then you can
| | 01:19 | choose Import from Application.
| | 01:21 | In this dialog, you can choose the
catalog's export folder or the Library folder
| | 01:26 | in this case, and then you can add this
to the existing catalog or create a new
| | 01:31 | catalog for that matter.
| | 01:32 | So, one way is to use that pulldown menu.
| | 01:35 | Another way is to simply drag and drop.
| | 01:38 | You can find these libraries wherever
they are stored and then simply drag them
| | 01:42 | and drop them into Lightroom.
| | 01:44 | Now when you do that, it will give
you this Import dialog, and what's great
| | 01:48 | about this is it gives you the option
to determine where you're going to save
| | 01:52 | these files and how
you're going to work on them.
| | 01:54 | Well, now that we can see
this inside of Lightroom.
| | 01:57 | What I want to do is expand things a
little bit, so I have a bit of a larger
| | 02:01 | view here of this preview window,
then I want to scroll through these.
| | 02:05 | Now when scrolling through these, one
of things I am noticing is that I have
| | 02:08 | images, but I also have this face
detection, these little thumbnails that iPhoto
| | 02:14 | has picked up for me.
| | 02:15 | Now I may not want to bring all of
those into Lightroom, so I may choose to
| | 02:19 | select just certain
images that I want to bring in.
| | 02:23 | So in this case, what I am going to do
is go ahead and turn on my Sort option
| | 02:27 | and sort by File Name, and what you can
see is it's now sorting these files by
| | 02:32 | filename and it's including
these other files in between them.
| | 02:37 | Another way I can sort of
course was by Capture Time.
| | 02:40 | Now Capture Time will show me all of
the original images here and then as I go
| | 02:44 | down, it will then show me these other
smaller thumbnails which were captured or
| | 02:51 | created after-the-fact once
I've brought them into iPhoto.
| | 02:55 | In this case, I don't want any small
thumbnails, so I'm going to go ahead and
| | 02:59 | click on one scroll down, click on
another, and then click on the checkbox.
| | 03:04 | This is then telling Lightroom to not
import all of these small little crop
| | 03:09 | versions of these faces.
| | 03:11 | Again, you want always have to do things
like this, especially if you don't have
| | 03:15 | face detection turned on in iPhoto,
but I just want to highlight again how we
| | 03:19 | can work with the import dialog. All right!
| | 03:21 | Well the next step of course is to go
through our panels on the right, let
| | 03:25 | start up at the top.
| | 03:26 | File Handling, we know how to do this,
no need to back those up to another
| | 03:30 | location at least for this step.
| | 03:32 | Standard preview there.
| | 03:34 | File Renaming, leave the files as this.
| | 03:37 | Apply during import, sure, that metadata there.
| | 03:40 | We'll add a couple key words, beach and family.
| | 03:44 | Next step of course is Destination.
| | 03:46 | Where should we save these files?
| | 03:48 | I'll save them to my People folder, put
them in a subfolder that I am going to
| | 03:52 | title Beach Family, they're all going
to go into that one folder, and actually
| | 03:57 | let me separate this folder with an
underscore their, so I have good naming
| | 04:01 | convention not a space that was an accident.
| | 04:04 | And then the next step, of course, is
to simply import, so here will click
| | 04:08 | on the Import button.
| | 04:09 | What's great about this is it will bring
these files into this Lightroom catalog
| | 04:14 | and now I can start to work on them.
| | 04:16 | You'll notice there all inside of this
People folder subfolder Beach Family.
| | 04:20 | It's rendering the previews for me and
I can now work with these files which
| | 04:24 | were previously perhaps in other
applications, and this type of integration is
| | 04:28 | really nice, because it allows us
to tap into some of these other photo
| | 04:32 | applications that we use and now bring
everything to Lightroom, so it can kind
| | 04:37 | of be our one-stop shop for
working on our photographs.
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|
5. Importing with Tethered CaptureIntroducing tethered capture| 00:00 | Tethered capture allows us to connect
our cameras to our computers and to shoot
| | 00:05 | directly to the computer's hard drive
and that's exactly what we'll be talking
| | 00:08 | about in the next few movies.
| | 00:10 | Here in this initial movie, all that I
want to do is introduce you to the topic
| | 00:13 | of tethered shooting and how we can
start to do this inside of Lightroom.
| | 00:17 | Now one of the advantages of tethered
shooting is that it brings our images
| | 00:21 | directly into Lightroom.
| | 00:23 | In other words, we don't have to
import them via a CompactFlash card, rather
| | 00:27 | they are they are directly and
immediately, we can start to manage process and
| | 00:31 | work on our photographs.
| | 00:33 | So how do we start using tethered capture?
| | 00:35 | Well, of course you have to connect
your camera to your computer and then the
| | 00:39 | next step is to navigate to this File
pulldown menu, Tethered Capture, and you
| | 00:44 | want to click on Start Tethered Capture.
| | 00:46 | This will open up the
Tethered Capture Settings dialog.
| | 00:49 | Here, we want to give this a session
name and I am going to call this studio,
| | 00:53 | because typically when you're using
tethered capture, you're indoors, you're in
| | 00:57 | a studio, you have your camera right
next to you, and you're using Tethered
| | 01:01 | capture, so that you can really quickly
view your images or so that a client or
| | 01:05 | art director can view those photographs.
| | 01:07 | Next, Naming convention;
| | 01:09 | well, we have a number of
different templates we can choose.
| | 01:12 | I am going to choose Session Name and
Sequence starting with the number 1.
| | 01:16 | Next, we want to Determine a
destination for these files.
| | 01:19 | In this case I am going to save
that to my Exercise Files folder.
| | 01:22 | You just want to make sure to add a
destination, so that you know where those
| | 01:26 | images are being saved on a hard drive.
| | 01:28 | What about information?
| | 01:30 | Well, here we can add some metadata,
like if we have a metadata preset, we
| | 01:33 | could select that, or we can add keywords and
just separate those keywords by a comma.
| | 01:38 | Well, after we have done all of this,
we'll click OK and this will open up our
| | 01:42 | Tethered Capture window.
| | 01:44 | Now this little dialog is actually
kind of fascinating, and because of that,
| | 01:48 | what I want to do is take just a
minute to deconstruct what we're seeing here
| | 01:53 | and I want to do that by way of
opening up a slide. All right!
| | 01:55 | Well, let's take a look at what we have here.
| | 01:58 | Well, on the far left we can select the
camera that we have connected and if we
| | 02:02 | have one or more cameras connected.
| | 02:04 | Next, we have the folder or
the shoot or session name.
| | 02:08 | Over here, we have all of the various
metadata whether it Shutters Speed, FStop,
| | 02:12 | ISO, or White Balance.
| | 02:14 | This is pulling all of this
information from our camera.
| | 02:17 | Next, we have something which
is actually quite fascinating.
| | 02:21 | Over here, we have the ability to add
presets to process our images as they're captured.
| | 02:27 | Here, you can see the preset
that was used was a Sepia toning.
| | 02:30 | That's why this image has this particular look.
| | 02:33 | Moving around, we have the ability to
change the settings or to create a new session.
| | 02:38 | We also can close or minimize this dialog here.
| | 02:41 | And then finally, last but not least, we
have the Shutter Release button. All right!
| | 02:45 | Well, now that we've been introduced
to this, let's go back to Lightroom and
| | 02:49 | talk a little bit about it.
| | 02:50 | Here in Lightroom, you can see that
we have the camera, we have all of that
| | 02:54 | metadata, developed settings.
| | 02:56 | If we click on this option, we can
choose various presets as you can see here,
| | 03:00 | and then over here on the right, we
can click on the Gear icon to open up our
| | 03:04 | Settings dialog window, and
then finally, we have this X.
| | 03:08 | Now the problem with this is if we
dragged this around, it almost always covers
| | 03:13 | up something important inside of Lightroom.
| | 03:15 | Well, if you hold down the Option key on
a Mac, Alt on Windows, changes the X to
| | 03:21 | little to little minus sign.
| | 03:22 | This makes this much more compact, we
can kind of tuck it away, so it's not
| | 03:26 | going to get in the way of working in Lightroom.
| | 03:29 | If you want to make it big once again,
hold down Option or Alt, turns into a
| | 03:34 | plus sign and that
will make that much bigger.
| | 03:37 | Okay, well now that we've been
introduced to this whole idea of Tethered
| | 03:40 | capture, let's go ahead and take a
look at how we can actually work with this
| | 03:44 | and let's do that in the next movie.
| | Collapse this transcript |
| Working with tethered capture| 00:00 | All right, let's get to
capture in some photographs.
| | 00:02 | Well I have my camera connected and
you may notice that I have a really low
| | 00:06 | f-stop and a high ISO, because here I
am in this closed room, I don't have
| | 00:10 | very good lighting.
| | 00:11 | But I have set an old camera on this
yellow chair and I want to take a picture of it.
| | 00:15 | And I want to bring this to my
hard drive right in the Lightroom.
| | 00:18 | Or I can either capture the image by
clicking on this button or I can simply
| | 00:22 | pick up my camera and aim
and then take the photograph.
| | 00:25 | So I'm going to go ahead and do that.
| | 00:26 | All right, there is our first shot, and
then I'm going to capture one more here.
| | 00:30 | And let's take a look at these pictures.
| | 00:33 | Here they come into Lightroom.
| | 00:35 | Now as I mentioned again, I have a
pretty low light scenario, but nonetheless,
| | 00:39 | we can start to see the
image come into Lightroom.
| | 00:42 | What's interesting about this is, you
can see that these two pictures even have
| | 00:45 | a little bit different
composition, so why I used Tether Capture?
| | 00:49 | Well, this can help you decide how exactly
do I want to photograph this whole camera?
| | 00:53 | Well this second shot, I like a lot
better than the first shot, if we make this
| | 00:57 | smaller, you can kind of
see the difference here.
| | 01:00 | Also see that my exposure and
everything was just a little bit better.
| | 01:03 | The other thing that we can do here
of course is we can zoom in on whatever
| | 01:07 | we are photographing.
| | 01:08 | We can ask ourselves, do we have enough
detail, how was the noise, how does this look?
| | 01:13 | Now what's interesting about this
is we can take this even further.
| | 01:17 | And initially what I want to do
is just get a little bit creative.
| | 01:21 | So for example, what I'm going to do
is I'm going to go ahead and select from
| | 01:24 | this pull-down menu one of our presets.
| | 01:26 | I am going to go to Color
Presets and choose Cross Process 3.
| | 01:30 | Now that's not going to apply the preset
to this image, but to the next one that
| | 01:35 | I'm about to capture.
| | 01:36 | So let me go ahead and
capture one more photograph here.
| | 01:39 | Oh wait for that to come in and then you
are going to see it's going to load and
| | 01:42 | then it's going to load
that Cross Process Preset.
| | 01:45 | What's interesting about this is, we can
use these presets for creative purposes
| | 01:49 | like I'm doing here, just by way of a
demo or we can dial-in presets which might
| | 01:55 | work a little bit better for
our particular images or setting.
| | 01:59 | Maybe, we know that the client really
likes images to have a certain level of
| | 02:02 | contrast or sharpness,
therefore, we can choose that preset.
| | 02:07 | Even a preset that we've designed and
built ourselves, that can then help out so
| | 02:12 | that as that image is coming up
they've already seen a little bit of contrast
| | 02:15 | and clarity and sharpness
added to the photograph.
| | 02:18 | So they are viewing it closer to the
way that it's going to be finished.
| | 02:22 | Because you and I both know RAW images
they just don't look very good, because
| | 02:27 | they're RAW, we have to process them
in order to make them look good.
| | 02:31 | So again you can use you these
Develop settings, and this is just immensely
| | 02:35 | helpful, especially when working with clients.
| | 02:39 | Okay, well so far we've taken a look
at how we can do this and capture images
| | 02:43 | and perhaps even apply a Develop setting.
| | 02:45 | I want to take a look at one more
scenario which has to do with White Balance
| | 02:49 | and also Tether Capture, and let's
look at that scenario in the next movie.
| | Collapse this transcript |
| Considering color management with tethered capture| 00:00 | Another great way to work with
Tether Capture is to take advantage of
| | 00:04 | Lightroom's processing power.
| | 00:05 | Let me show you what I mean.
| | 00:06 | Let's say for example, that I choose my
White Balance setting and I change that
| | 00:10 | to something different, may be accidentally.
| | 00:12 | Here it is on Cloudy, and I start
shooting and realizing that you know what, my
| | 00:16 | images just aren't looking very good at all.
| | 00:19 | My White Balance is off, now this can
be off regardless of what you choose.
| | 00:23 | I'm just going to choose something
that's really far off so we can kind of
| | 00:26 | see how this works.
| | 00:27 | And then what you can do is, you can set
something which is neutral in the scene
| | 00:31 | and take a picture of it.
| | 00:32 | I'm going to go ahead and do that now.
| | 00:35 | Let's wait for that
particular image to show up here.
| | 00:38 | This is an image of an X-
Rite ColorChecker Passport.
| | 00:41 | Now this is one of the tools that I
use in order to get correct color.
| | 00:45 | One of the things that we can see
here is that this looks just too yellow.
| | 00:49 | But what you can do is you can
actually white balance this by going to
| | 00:53 | the Develop module.
| | 00:54 | Now if you are new to the Develop
module, this is actually really easy.
| | 00:57 | Although, we need to do is to click on
Develop, open up the Basic Panel and then
| | 01:02 | click on this Eyedropper here.
| | 01:04 | Now I'm going to click on a
patch which should be neutral.
| | 01:07 | When I do that all of a sudden there
is a huge color correction, take a look.
| | 01:12 | Here is the before and then here is the after.
| | 01:15 | It was much too yellow.
| | 01:17 | Well now that I've made that correction,
what I can do is go back to the Library
| | 01:21 | module and here I'm going to continue
shooting, but this time I am going to go
| | 01:24 | ahead and choose the Develop
setting as Same as previous.
| | 01:28 | In other words, I just corrected this
image, under this lighting scenario.
| | 01:32 | Now what I want to do is use that correction
and then apply it to the other photographs.
| | 01:37 | Let's take a look.
| | 01:38 | I'll go ahead and move that
ColorChecker chart out of the scene and then
| | 01:42 | recompose and create another photograph.
| | 01:44 | All right, let's see how this one comes in.
| | 01:47 | We will see it load in here and what
we will see is it starts off to yellow
| | 01:51 | right, and then as it's loading, we can
see that here it's taking those Develop
| | 01:56 | settings and it's going to process
that, now this looks much better.
| | 01:59 | So you can see that we can
really do some pretty amazing things.
| | 02:03 | Now so far what I've looked
at is how we can do this pretty
| | 02:07 | straightforward, right?
| | 02:08 | Regards to color-correction.
| | 02:09 | We color-corrected a file, that color-
correction was then applied to the other
| | 02:13 | files that we are going to
shoot on and on down the line.
| | 02:17 | We can also apply other
settings as I mentioned before.
| | 02:20 | If you're familiar with the Develop
module, you could use those controls in
| | 02:24 | order to process the image and make it
look just like you want it to look and
| | 02:28 | then you can apply those settings as
you are capturing your photographs and as
| | 02:32 | you're bringing those into Lightroom.
| | 02:33 | So as you can imagine from hearing this,
you can use this particular technique
| | 02:37 | for corrective or creative intentions.
| | 02:40 | In other words, perhaps it's
just to correct the White Balance.
| | 02:43 | Well that would be great and this works
really well, or maybe you want to get a
| | 02:46 | little bit more creative, in that case
you could customize all of those settings
| | 02:50 | and have those applied to the image as well.
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|
|
6. Working with CatalogsIntroducing catalogs| 00:00 | One of the reasons why Lightroom is
such a widely used application is because
| | 00:04 | built within Lightroom is a catalog, a database.
| | 00:08 | And in a sense what this catalog
does is it gives us this structure.
| | 00:12 | And if you think about structures for a
second, like this structure here, this
| | 00:16 | pier, they allow us to do interesting
things, like this pier which runs out over
| | 00:21 | Lake Tahoe in California, it allows
people to literally walk on or above water.
| | 00:27 | And in a sense that's what
the Lightroom Catalog does.
| | 00:30 | It allows us to do something that
we couldn't have otherwise done.
| | 00:34 | Here's a trick with Lightroom.
| | 00:36 | We can't actually see the structure,
and because of this whole idea of catalogs
| | 00:40 | and databases, it can be a
little bit vague and even confusing.
| | 00:45 | Now because of this, what I want
to do is take some time to try to
| | 00:48 | deconstruct catalogs. What is a Catalog?
| | 00:52 | Because I think if you can have a
strong working understanding of catalogs, it
| | 00:57 | can really help you out as
you're working in Lightroom.
| | 01:00 | All right, well for starters, here we
are in the Lightroom and let's navigate to
| | 01:03 | the Window pull-down menu and then go
to the Screen Mode and choose Normal.
| | 01:08 | This will give us the ability to
see what catalog we are working on.
| | 01:12 | You con see that up top.
| | 01:13 | There is my catalog.
| | 01:14 | Command or Ctrl+Click that, you'll
see where it saved, in this case in the
| | 01:18 | Pictures folder in a subfolder
and there is the catalog file.
| | 01:21 | Now this catalog file it actually does
quite a bit, and because of that, what I
| | 01:27 | want to do is jump to a few other
slides to begin to deconstruct and demystify
| | 01:32 | what catalogs are all about.
| | 01:34 | All right, so for starters,
what is a Lightroom catalog?
| | 01:37 | We've already talked about this idea
that the catalog, it's a particular file
| | 01:41 | saved in a location on your hard drive,
typically in your pictures folder.
| | 01:45 | It's actually made up of two separate
files, the catalog file itself and then
| | 01:49 | also the preview information
for your images and videos.
| | 01:53 | Now these particular files they are
key, they are integral to Lightroom.
| | 01:58 | So as we deconstruct what a Lightroom
Catalog is, here is an initial definition.
| | 02:03 | It's how Lightroom tracks the location of
files and remembers information about them.
| | 02:08 | In a sense, it is a database.
| | 02:10 | Now if you are like me, that's where
database may seem a little bit intimidating
| | 02:14 | or vague or confusing so what's in the database?
| | 02:18 | Well here are few things I
think you might want to write down.
| | 02:21 | Inside of the Lightroom Catalog,
inside of this database file, here's what it
| | 02:25 | contains, Previews, File Location,
Metadata, Develop Module Settings, Ratings,
| | 02:32 | Keywords, and Collections.
| | 02:35 | So why then do we have catalogs?
| | 02:38 | Well in a sense we have catalogs
because they give us flexibility in managing,
| | 02:43 | identifying, and
organizing photos and media files.
| | 02:46 | Now if you are like me, you maybe
thinking, okay, well that's nice.
| | 02:50 | I kind of get it but not really.
| | 02:52 | This doesn't quite make sense.
| | 02:55 | Well because of that, what I want to
do is in the next movie I want to talk
| | 02:58 | about catalogs in a
comparative or analogous way.
| | 03:01 | I want to try to make this a little
bit more practical and see if we can't
| | 03:05 | understand this even better.
| | 03:07 | So let's continue to talk about
catalogs and let's do that in the next movie.
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| Demystifying catalogs by way of comparison| 00:00 | In the last movie we left off
with a question why have catalogs?
| | 00:04 | Because they give us flexibility in
managing, identifying, and organizing our
| | 00:07 | photographs and media files.
| | 00:09 | Well here what I want to do is try to make
this whole idea a little bit more concrete.
| | 00:13 | Now I want to do this by way of
comparison or analogy, and see if this might
| | 00:17 | help us deconstruct and
demystify what a catalog actually is.
| | 00:22 | So just for the sake of an
argument, let's try this on for size.
| | 00:25 | Let's say for example that instead of
talking about photographs, we are going
| | 00:28 | to talk about bikes.
| | 00:30 | And let's say that you own
a really small bike shop.
| | 00:33 | Well in your bike shop let's say you
have a small storefront, and then you have
| | 00:37 | all of the bikes in storage
somewhere in the back warehouse.
| | 00:40 | Well if a client comes in and asks you
about a particular bike, you can always
| | 00:44 | walk back, look in the warehouse, and
see what you have, and in situations like
| | 00:49 | it's kind of like using Adobe Bridge.
| | 00:51 | Now Adobe Bridge is really
good at just glancing at things.
| | 00:55 | Go to the warehouse, glance to see what's there,
okay I got it, and now I know. It has no memory.
| | 01:01 | It forgets every time you leave some location.
| | 01:05 | So if you have a small bike shop and just a
few bikes back there in storage, no big deal.
| | 01:10 | But all of a sudden, your bike business is
booming, I mean is going just off the charts.
| | 01:16 | Now you have all of these bikes back in storage.
| | 01:19 | Well it's not going to work to run back
there, look what you have, run back to
| | 01:23 | the client, back and forth and back and forth.
| | 01:25 | You need something which gives you
access to what's back in storage, and also
| | 01:30 | somehow organizes all of that storage
area, and this is really where Lightroom
| | 01:36 | comes to save the day so to speak.
| | 01:38 | What Lightroom does is it takes all of
this mess and it analyzes it, organizes it.
| | 01:44 | And it says, okay, I know what's there.
| | 01:46 | And it kicks out or
creates what's called a Catalog.
| | 01:50 | And it generates this catalog file.
| | 01:52 | Now what's great about this is, if you
have this little catalog, you can flip to
| | 01:57 | page 1, 2, 3 or whatever it is, and
you see these little thumbnails, of what
| | 02:02 | actually exist in the warehouse in the back.
| | 02:04 | So when the client comes in, it says, hey,
do you have this bike in blue in this size?
| | 02:08 | You say, oh yeah, I do.
| | 02:10 | You don't have to run back to the
storage area, and then you will do this
| | 02:14 | back and forth thing.
| | 02:15 | So in other words, this catalog, it
gives us this new layer of organization and
| | 02:20 | memory, and it remembers a lot of
really important things about our files.
| | 02:25 | So why is this important?
| | 02:27 | Well if you just have a few
photographs, it really isn't that important.
| | 02:31 | But if you have a lot of photographs
like most of us, most of us captured too
| | 02:35 | many pictures, what this catalog
element does is it really helps us access and
| | 02:40 | work with those files in fascinating ways.
| | 02:43 | So kind of summarizing what
we've already talked about.
| | 02:45 | In Lightroom, we have this catalog file.
| | 02:48 | And it contains different things like
File name and information, Metadata,
| | 02:53 | Ratings, Labels, Flag, Previews, Develop
Settings so on and so forth. So why have them?
| | 02:59 | Well they do give us flexibility.
| | 03:01 | They give us flexibility in just
dealing with all of our photos and videos, in
| | 03:05 | finding those, in organizing
them, also in processing them.
| | 03:08 | Because we have this catalog, we can
process or we can get through many more
| | 03:13 | images than we could have.
| | 03:15 | It's really about effectiveness, about
speed and ultimately about creativity.
| | 03:21 | This catalog isn't something
that is dry and uninteresting;
| | 03:25 | rather this is kind of like a
backbone which ultimately helps us to be more
| | 03:30 | creative and to create
more compelling photographs.
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| Optimizing and backing up catalogs| 00:00 | When you first open up Lightroom you
have to create the initial catalog, but
| | 00:04 | after that it's easy to forget about
catalogs, and because of that, here what I
| | 00:08 | want to do is talk a little
bit about working with catalogs.
| | 00:11 | Well as I've mentioned previously
catalogs are really important and to
| | 00:15 | illustrate that I want to jump back to
a couple of slides that we've seen in
| | 00:18 | order to just to reiterate this concept.
| | 00:21 | What I was trying to illustrate here
was that typically our files can be
| | 00:24 | a little bit of a mess but
Lightroom comes along and the catalog
| | 00:28 | organizes everything.
| | 00:29 | Now this catalog contains all sorts
of valuable information, Develop Module
| | 00:33 | Settings in other words all of the
hours and hours that we have labored on our
| | 00:39 | photographs, all of that passion we
have invested into the art and craft of
| | 00:43 | making our images really
good, well that would be lost.
| | 00:47 | If we lose this catalog, we lose
all of that in ratings, keywords and
| | 00:51 | collections and so much.
| | 00:53 | So therefore that catalog is really
important, and I want to talk a touch about
| | 00:58 | how we can back up this
catalog and also optimize it.
| | 01:01 | So in order to do that,
let's jump back to Lightroom.
| | 01:04 | Inside of Lightroom, one of the
things that you can do is navigate to the
| | 01:07 | Lightroom pull-down menu
and choose Catalog Settings.
| | 01:10 | Now here in the General tab you can
choose how often you want to backup your
| | 01:14 | catalog, and by default this is
once a week, when exiting Lightroom.
| | 01:20 | Now the problem with this default
selection or default option is that it
| | 01:24 | isn't very good because most of us we
don't turn off our computers very often
| | 01:29 | and we don't quit applications very
often and because of that I don't think
| | 01:34 | this is frequent enough.
| | 01:35 | Remember if you lose that catalog, gosh,
you are going to lose just a ton of
| | 01:39 | valuable information.
| | 01:41 | So what I recommend you do is you
change this to when Lightroom next exits or
| | 01:47 | every time a Lightroom exits.
| | 01:48 | In other words, every time you exit
Lightroom it will create a backup for you,
| | 01:52 | and this is definitely a good idea.
| | 01:54 | All right, well let's exit this whole
concept of backup for a second and jump to
| | 01:58 | another concept which is actually related.
| | 02:00 | There's another thing you can do
with your catalog which is Optimize it.
| | 02:04 | If you navigate to your File pull-down
menu and then select Optimize Catalog,
| | 02:08 | what this allows you to do is to optimize this.
| | 02:11 | In other words let's go
back to that warehouse analogy.
| | 02:14 | If all of the bikes in the warehouse
have been moved around and shuffled and
| | 02:18 | they are a little bit kind of messy
or messed up you can straighten and
| | 02:22 | organize and clean everything up by optimizing,
and so it's always a good idea to do that.
| | 02:27 | What this will do is it will then
just get everything back in order to make
| | 02:30 | sure the communication between the catalog
and the actual files is accurate, is perfect.
| | 02:35 | So a lot of times you want to do that.
| | 02:37 | The trick is, it's really easy to
forget to optimize your catalog and there
| | 02:42 | aren't really clear
instructions on how often to do that.
| | 02:45 | So here's what you can do.
| | 02:47 | As you remember that I set up that
preference to backup the catalog every time I
| | 02:52 | quit Lightroom and that's what I recommend.
| | 02:54 | Well you can also optimize when
you create that backup as well.
| | 02:59 | Let's go through that process.
| | 03:00 | So here what we are going to do is,
navigate to the Lightroom pull-down menu and
| | 03:04 | choose Quit Lightroom.
| | 03:05 | This will tell us that we've dialed in
these settings or chosen these settings
| | 03:10 | to backup this catalog
every time you quit or close.
| | 03:13 | Great, here is where it's going to
save the backup files, we will talk more
| | 03:16 | about that in a second and let's
jump down to these other two options.
| | 03:20 | Also test the integrity,
definitely and optimize that catalog.
| | 03:24 | So be sure to have those two options turned on.
| | 03:27 | Now back to this backup folder.
| | 03:29 | What it's going to do is it's going
to create a backup of these images in a
| | 03:34 | subfolder where your catalog is saved.
| | 03:36 | In this case it's saved on the internal
hard drive of this computer and that's a
| | 03:40 | really good spot for it.
| | 03:42 | But it's saving the backup on the same
hard drive that the main catalog is saved on.
| | 03:47 | In other words, if that
hard drive dies, I lose both.
| | 03:52 | The backup really isn't any good to me.
| | 03:54 | So what you're going to want to do is
to choose an alternate location for this.
| | 03:59 | Ideally, another hard drive,
have this in a different spot.
| | 04:03 | You don't want to put all of your eggs
in one basket because that basket could
| | 04:07 | break down and you could have a big problem.
| | 04:09 | So again you want to choose a different
location and that will help you have a
| | 04:12 | more stable and reliable backup.
| | 04:15 | All right, well in this case,
I'm using a demo computer;
| | 04:18 | I don't have an external drive connected.
| | 04:20 | So I am going to leave it here
because I want to look at this backup file
| | 04:24 | and recommend something else that I think
you should do to make your backup even better.
| | 04:28 | So let's go ahead and click backup
and what will happen is it will go
| | 04:31 | through this process.
| | 04:33 | Now I want to go ahead and navigate to
that location where these files are saved.
| | 04:37 | And I also want to make a little
bit of a comment about that backup.
| | 04:40 | Keep in mind that that backup is going
to take some time, so you want to do that
| | 04:44 | at the end of the day right?
| | 04:46 | Right before you leave, you don't want
to do that in the morning or right before
| | 04:50 | you want to work on some images.
| | 04:52 | So just make sure you do that in a time when
you don't really need to work with Lightroom.
| | 04:56 | All right, well here I am inside of my
Lightroom 4 folder in the Pictures area
| | 05:01 | on the hard drive and here's
this Backups file that it's created.
| | 05:05 | It gives me the date when it was created
which is nice in this little Lightroom catalog.
| | 05:09 | What's interesting is it's saving
the catalog but not the previews.
| | 05:13 | Now I wouldn't want to lose these
previews and have to re-render them if
| | 05:17 | something happened so here is what I recommend.
| | 05:19 | Select the Previews file
and then go to your Menu.
| | 05:23 | In this case I will go to Edit and I
will dopy that, next I am going to go
| | 05:26 | inside of this Backups folder and just
make sure I am inside of that and then go
| | 05:30 | to Edit and paste that item.
| | 05:32 | So now I have that inside of that same
location, and here what I will do is just
| | 05:37 | navigate backwards for a minute,
so we can see where we were.
| | 05:41 | You can see basically that what I did
is I copied both the catalog and the
| | 05:45 | previews into this spot.
| | 05:47 | Now this extra little step isn't
needed because if you lose the previews it's
| | 05:51 | not the end of the world and you can
re-render or re-create those in Lightroom.
| | 05:56 | That being said in my own Lightroom
catalog, I have thousands and thousands of
| | 06:01 | images, and in my case I really want
to save all of that information previews
| | 06:06 | and all the rest of it as well.
| | 06:08 | So that's what I do in my own workflow
just to make sure I've backed up everything.
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| Importing and updating legacy catalogs| 00:00 | One of the common things you might
need to do in Lightroom in regards to
| | 00:03 | catalogs is import an external catalog
into a catalog that you've already created.
| | 00:10 | There are number of different reasons
why you might need to do that, and because
| | 00:13 | of this what I want to do is talk
a little bit about this process.
| | 00:16 | First though I am going to minimize the
Lightroom interface so that we can see
| | 00:20 | what I have on the Desktop.
| | 00:22 | Here I am just making Lightroom a
little bit smaller, and on the Desktop you'll
| | 00:25 | notice I have this folder, it's titled puppies.
| | 00:28 | If I double-click this I can open it up,
and inside of this folder you'll notice
| | 00:32 | I have a Lightroom Catalog.
| | 00:34 | Now the catalog that's here it contains all
of the catalog information as well as images.
| | 00:40 | If you open up this folder
you'll see the different images.
| | 00:43 | Now this is a catalog which has been
exported from a previous version of
| | 00:48 | Lightroom, we will talk about
exporting catalogs in the next movie.
| | 00:51 | Yet for now there are many ways to
get catalogs out of Lightroom or perhaps
| | 00:55 | you're just upgrading to a newer
version of Lightroom, and what you need to do
| | 01:00 | is to import and update your catalogs.
| | 01:03 | In either case, the process is exactly the same.
| | 01:06 | You have that catalog somewhere, in
this case I have it in this particular
| | 01:10 | location, and what I want to do is
rather than having two catalogs, in other
| | 01:15 | words rather than having Lightroom 4
catalog and puppies catalog, I want to
| | 01:19 | have just one catalog.
| | 01:21 | What you need to do is to import
that catalog, then two become one.
| | 01:26 | Let me show you how it works.
| | 01:28 | What we will do here in Lightroom is
go ahead and expand that, and go to File
| | 01:32 | and then choose Import from Another Catalog.
| | 01:35 | This will allow us to import that
other catalog which is this one right here.
| | 01:40 | I'll click Choose and what's going to
happen is, it's going to tell me a few things.
| | 01:44 | First it says, the catalog that you
selected it needs to be upgraded before it
| | 01:49 | can be imported with this version of Lightroom.
| | 01:52 | Lightroom will upgrade this catalog in
the background and then resume the import
| | 01:57 | after the upgrade completes.
| | 01:59 | So that's definitely what we want to do
and then it asks us, do we want to save
| | 02:04 | this upgraded catalog?
| | 02:06 | Do we want this newer version of that?
| | 02:08 | Well it couldn't hurt to have that,
so I will go ahead and click Save.
| | 02:12 | Now if you are worried about increasing
that file size in that folder, you would
| | 02:16 | just simply choose Discard.
| | 02:18 | In this case I am going to chose Save,
and then I'll click Start Background
| | 02:22 | Upgrade, and the great thing about this,
is of course, I can continue to work
| | 02:25 | in Lightroom, right?
| | 02:26 | I can do all that I need to do while
that's happening in the background.
| | 02:29 | Once it's complete it will
open up this Import dialog.
| | 02:33 | Now here it says, Import from the
Catalog, and it's going to import a folder
| | 02:38 | and also some images.
| | 02:40 | Then it asks me, how I want to
handle these particular files?
| | 02:44 | Well I could add new photos to the catalog
without moving, we know what that is, right?
| | 02:48 | We have seen that before or I
could copy these to a new location.
| | 02:53 | Now most likely what you'll want to do is,
bring these to a new location, if the
| | 02:57 | location doesn't really make
sense with your photo library.
| | 03:02 | Again it's really about your own
structure, your own internal structure.
| | 03:06 | In my case, I would rather have all my
photos in one main photos folder rather
| | 03:11 | than all these different various folders.
| | 03:13 | So I want to copy these to a new location.
| | 03:15 | Now when I select that I get to choose location.
| | 03:18 | So here of course what I am going to do
is go ahead and navigate to my Desktop,
| | 03:22 | and then I'll go to the Exercise Files
and Photos folder and then click Choose.
| | 03:28 | Now the great thing about this is it will
bring these files over into that location.
| | 03:32 | I can also click to see the Preview and
if you've used Lightroom before you may
| | 03:36 | remember this import dialog.
| | 03:38 | It's not quite as good as the main
Import dialog but at least it allows us to
| | 03:43 | see these pictures, and as a side note,
these are photographs that I captured,
| | 03:47 | of our little dog that we adopted,
Daisy the dog, and her brothers and sisters.
| | 03:52 | One of our neighbors was having
puppies and I took some photos of them.
| | 03:56 | Well I am ready to import.
| | 03:58 | Here I am going to go ahead and click
Import, and it's going to go through the
| | 04:01 | process of bringing those files in.
| | 04:04 | Now the great thing about what's
happened here, is I have all these files,
| | 04:08 | they are now in this folder in my main Photos
section and I can then begin to work with them.
| | 04:13 | These photos now exist in this
separate folder, let me show you.
| | 04:18 | So I am going to go ahead and minimize this
and then open up my Exercise Files folder.
| | 04:23 | In this folder, if we open up Photos
in the golden retrievers, just close
| | 04:28 | these other folders here.
| | 04:30 | We can see these files exist inside of
this location, now what about the other
| | 04:35 | location, the old location?
| | 04:37 | Well if we go back and open up this,
they also exist here, because remember, I
| | 04:42 | asked it to copy these to a new location.
| | 04:46 | The reason I'm pointing this out is
if you're upgrading let's say an older
| | 04:50 | catalog and you have thousands and
thousands and thousands of images, you may
| | 04:54 | not want to create copies of those
because it'll just be too much information.
| | 04:59 | In those situations, you may simply want
to add the photographs and then you can
| | 05:03 | always move them after the fact.
| | 05:06 | Simply add them from their location
and then make the changes as far as where
| | 05:10 | they're located inside of Lightroom.
| | 05:13 | Let me show you what I mean.
| | 05:14 | So here we will go ahead and close out
of these windows and go back to Lightroom.
| | 05:18 | Let's say for example that this
location where these files are saved, I don't
| | 05:22 | like, we'll just click on the
folder and drag it to a new location.
| | 05:26 | It says, hey, you are going to make
this move, fine, click Move and now you can
| | 05:29 | see it's in a new spot.
| | 05:31 | I made a mistake, that's not the
right spot, drag it to another and then
| | 05:35 | again you can move it.
| | 05:36 | You can also rename this.
| | 05:38 | If this naming convention isn't
correct you can right-click or Ctrl+Click and
| | 05:42 | choose Rename, here I want to give this
a capital letter Golden_Puppies and then
| | 05:49 | click Save, and now I have that in a
naming convention which matches the other
| | 05:54 | ways that I have been naming my folders.
| | 05:56 | So as you can see you have a lot of
flexibility here, and what this does is it
| | 06:00 | allows you to combine two different
catalogs into one and this can really be
| | 06:04 | helpful in a number of different
situations, whether you shoot photographs on
| | 06:08 | location and have them on your laptop
and then you need to integrate that laptop
| | 06:12 | catalog with a desktop catalog or maybe
you're upgrading to a newer version of
| | 06:17 | Lightroom and you just need
to combine catalogs together.
| | 06:20 | Or maybe you've created too many
catalogs and what you need to do is minimize
| | 06:24 | the amount of catalogs you have
because really you should only have one.
| | 06:27 | Well whatever situation, you can go
through this process, and again it all
| | 06:31 | starts by going to your File pull-down
menu and choosing Import from Another Catalog.
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| Exporting a catalog| 00:00 | There are a number of different
reasons why you may want to take some or all
| | 00:04 | of your images and export them as a
standalone catalog, and typically the
| | 00:10 | reasons why you may want to do this
is because you might be working on
| | 00:13 | multiple computers.
| | 00:15 | Perhaps you have a laptop, you have a
catalog on that, you need to get those
| | 00:19 | images in that catalog onto the Desktop, or
maybe you have a Studio Manager or an assistant.
| | 00:25 | What you want to do is pass off some photos
that you've already worked on in Lightroom.
| | 00:30 | You want to give that person all of
those photos with all of your work so they
| | 00:34 | can then finish it off and maybe design
a book or create some prints or upload
| | 00:38 | an online Web gallery.
| | 00:40 | So whatever the situation, what I want
to look at here is, how we can export all
| | 00:45 | or some of our photographs as a catalog.
| | 00:47 | Now one of the things that you're
going to want to do is make a selection.
| | 00:50 | You can make a selection of a folder
of images, of a collection, whatever.
| | 00:54 | Here I'm going to select a
folder, this folder Beach_Family.
| | 00:57 | Next, I'm going to navigate to my
File pull-down menu and here I'm going to
| | 01:01 | choose Export as Catalog.
| | 01:03 | Now when I do this I can choose a
location, in this case the Desktop.
| | 01:07 | I want to save this out as Beach_Family, I'm
just going to keep the name exactly the same.
| | 01:13 | Underneath it allows me to
determine some export settings.
| | 01:17 | It's says you're going to
export a catalog with 23 photos.
| | 01:20 | All of the photos in this folder or
if you've chosen a collection in the
| | 01:24 | collection, either one works.
| | 01:26 | Now do I want to export
selected photos only? No, all of them.
| | 01:30 | Export the negative files, what that
means is the original files if you have RAW
| | 01:35 | files, may be you've
created some virtual copies;
| | 01:38 | do you want to export the
originals or the RAWs or what?
| | 01:40 | Yes, I want to export the original
files, I also want to include any
| | 01:44 | available previews.
| | 01:46 | So great, it's all I need to do
there, and then simply click Export.
| | 01:50 | Now this is going to export a new
catalog, and what we can do is we can take a
| | 01:54 | look at this catalog.
| | 01:55 | Let's minimize the Lightroom interface
for a second, and what I'm going to do is
| | 01:59 | find this folder, and here it is on my
Desktop over here, I'm just going to move
| | 02:03 | it over so we can see that,
and then open this folder up.
| | 02:06 | Now when I open this folder up what
we'll see is that we now have a new catalog.
| | 02:11 | Inside of this catalog we have
Exercise Files and Photos, and People and then
| | 02:16 | there is the Beach_Family.
| | 02:18 | The nice thing about this is it
remembers the file or folder structure,
| | 02:23 | the folder hierarchy.
| | 02:24 | In other words it just takes the files
the way you had it, and then exports it
| | 02:29 | as now a standalone catalog.
| | 02:31 | What do I mean by a standalone catalog?
| | 02:35 | What we can do then is we could take
this catalog and we could import it, like
| | 02:40 | we looked at in the previous movie and
combine that with another catalog if we
| | 02:44 | had one opened or we could
just open this one by itself.
| | 02:48 | Let me show you how this works.
| | 02:49 | So here in Lightroom, I'm going to
navigate to a File>Open Catalog, now the
| | 02:54 | catalog that I'm going to navigate to is
Beach_Family, and then I'll click Open.
| | 02:58 | What this will do is it will
close and then re-launch Lightroom.
| | 03:02 | I'll go ahead and skip my backup
this time because I just did that a few
| | 03:06 | minutes ago, and this will then open up
Lightroom with this catalog that's been
| | 03:11 | exported from Lightroom.
| | 03:13 | And now if expand Lightroom so we can
actually see what we have here and go to
| | 03:17 | our folders, again it just has these
photos and you can see they are all in the
| | 03:22 | same spot, and we could work on
these images in any way, shape or form.
| | 03:27 | So as you can see you can make a
selection of photographs and you can export
| | 03:32 | them as a standalone catalog, and
that catalog will contain all of the
| | 03:36 | information that we've talked
about in those previous movies.
| | 03:40 | All of the things that you've done to
the files metadata or develop settings or
| | 03:44 | ratings, anything that you've done with
those images, it will remember that, and
| | 03:49 | it will be contained in this
exported standalone catalog.
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| Learning more about catalogs| 00:00 | In this chapter, we've started to
learn about the Lightroom catalog.
| | 00:04 | And one of the things that we have
learned is that the catalog is important or
| | 00:08 | integral to Lightroom.
| | 00:09 | So you may be interested in learning
more about this topic. Well how or where?
| | 00:13 | Well I have created a course, it is
called Lightroom 4 Catalogs in Depth.
| | 00:18 | And this course is a deep dive in the
topics of digital asset management and of
| | 00:23 | working with the Lightroom catalog.
| | 00:25 | In that course I will cover topics like
how can you work with multiple catalogs,
| | 00:29 | say if you have one on your
laptop and also your desktop.
| | 00:33 | Or how do you work with those scenarios
where maybe you've lost or misplaced images?
| | 00:37 | We will talk about how you can optimize and
manage your catalog and other topics as well.
| | 00:42 | So if you are interested in digging
deeper into this topic, be sure to check out
| | 00:46 | that course, it's
Lightroom 4 Catalogs in Depth.
| | Collapse this transcript |
|
|
7. The Essentials of the Library ModuleWorking in the Grid and Loupe views| 00:00 | Over the next few movies I want to
share with you some of the basics about
| | 00:03 | working with the Library module.
| | 00:05 | One of the first things that you need
to know how to do, is how to change the
| | 00:09 | two different views in the Library module.
| | 00:11 | There's one view called the Grid view
which you can see here, there's also
| | 00:15 | another which is called the Loupe view.
| | 00:17 | We also want to work with the filmstrip,
let's talk about how we can do these things.
| | 00:22 | Well, you'll notice that there is a
Toolbar, on this Toolbar there are two
| | 00:26 | icons, you can click on either of
these icons to navigate between either the
| | 00:30 | Grid or the Loupe view.
| | 00:32 | What the Loupe view gives you is
this zoomed in or this bigger view of
| | 00:36 | one particular picture.
| | 00:37 | You can also navigate between
these two views by way of a shortcut.
| | 00:41 | Now because these shortcuts are
essential I want to share those with you.
| | 00:45 | For the Grid it's the G key,
for the Loupe it's the E key.
| | 00:50 | Now once you've zoomed in what you can
do is press your Arrow keys in order to
| | 00:54 | scroll to other photographs.
| | 00:56 | These particular pictures that we'll be
working with are really meaningful to me
| | 00:59 | because this was a really special wedding.
| | 01:02 | Both of these people who got married had
lost their first spouse to illness, and
| | 01:08 | after that they'd become friends and
then eventually that friendship that
| | 01:13 | blossomed into romance, so
it is really quite beautiful.
| | 01:16 | And so in order to view these images we
can use these Arrow keys to navigate to
| | 01:20 | the different photographs.
| | 01:22 | Another thing that we can do here in
the Library module or in any module for
| | 01:26 | that matter is change
the size of the thumbnails.
| | 01:29 | Let's first take a look
at that in the Grid view.
| | 01:32 | I'll go ahead and the press the G key
for Grid, and then in the Toolbar you can
| | 01:37 | see that there is a Thumbnails Slider.
| | 01:39 | Now we can go ahead and click-and-
drag that to the left or to the right.
| | 01:44 | Another thing that we can do is we can
change the size of the thumbnails down
| | 01:48 | here in the filmstrip, because
often what will happen is we'll be on a
| | 01:52 | photograph, perhaps in the Loupe view,
we want to choose another one in the
| | 01:56 | filmstrip, we just can't
quite see it well enough.
| | 01:59 | Well to change the size of the filmstrip
you just hover over the dividing line here.
| | 02:05 | When the cursor changes you can
then click-and-drag, and now I have a
| | 02:08 | much larger preview of these
images down here and I can make the
| | 02:11 | appropriate selection.
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| Navigating and zooming| 00:00 | Here we're going to continue to talk
about how we can work with our images in
| | 00:03 | the Library module and in particular
how we can change, how we select the
| | 00:07 | photographs and also zoom in on these pictures?
| | 00:10 | Well, for starters I want to navigate
down in the Toolbar, and in the Toolbar
| | 00:14 | you can choose what's displayed here by
clicking on this triangle button in the far right.
| | 00:18 | And one of the options is Navigate.
| | 00:21 | If you select Navigate what that
allows you to do is to navigate between the
| | 00:25 | different images, how would you want to do this?
| | 00:27 | Well let's say that you have an image
like this and you're in the Loupe view mode.
| | 00:31 | Well perhaps you want to close the
filmstrip altogether or maybe you just have a
| | 00:35 | really small filmstrip, well in that
case you can just click these buttons in
| | 00:39 | order to navigate back and
forth between the photographs.
| | 00:42 | All right, well let's say that we want
to see a closer look of an image, because
| | 00:47 | most of our photographs, well, they
look good from far, but up close are they
| | 00:51 | sharp, is there a good
detail? How is the noise?
| | 00:54 | Let's say we want to evaluate our pictures.
| | 00:56 | How can we do that in the Library module?
| | 00:59 | One of the things that we might want
to do is open up the Navigator Panel.
| | 01:03 | Now this panel is really interesting.
| | 01:05 | Above it you'll notice we
have some different zoom rates;
| | 01:08 | we can choose these different zoom rates.
| | 01:10 | For example, we can go to the far right
and we can click on this option here to
| | 01:14 | choose perhaps let's say one to four,
and then I can use this Navigator window
| | 01:18 | to change what I'm looking at.
| | 01:20 | Sometimes this can even give you some
creative ideas for how you might want
| | 01:23 | to crop a photograph.
| | 01:25 | Now you can change this simply by
making another selection, let's try 1:8, and
| | 01:30 | again we can change the
area that we're looking at.
| | 01:33 | Another thing that we can do of course
is click on another option, like 1:1,
| | 01:37 | this is going to zoom this into 100%,
here we can really evaluate what type
| | 01:42 | of detail and noise and whatnot we
have in the image, and we can simply move
| | 01:47 | this around by clicking in the Navigator window
in order to see a different part of the image.
| | 01:52 | Well, let's go back to Fit for a second,
if we choose that option it will zoom
| | 01:56 | the image back so that we can see it
in its entirety, let's click on say
| | 02:01 | another photograph.
| | 02:02 | I'll go ahead and choose this
one down here in the filmstrip.
| | 02:05 | Well what I want to do with this image
is I want to zoom in on this picture.
| | 02:09 | How else can I do that?
| | 02:10 | We've already talked a little bit about
how we can use the navigator controls,
| | 02:15 | yet there is another way.
| | 02:17 | Let's go all the way back to the Grid view;
| | 02:19 | we'll do that by clicking on
the Grid icon in the Toolbar.
| | 02:22 | Well here in the Grid view
the image is really small.
| | 02:26 | We want it to become bigger.
| | 02:28 | We can use kind of our old-
fashioned zoom shortcuts.
| | 02:32 | On a Mac you can press Command+=, on
Windows that's Ctrl+=, that's the key that
| | 02:37 | has the Plus key key on it as well.
| | 02:39 | When we press that what
happens is we zoom in one level.
| | 02:43 | Now Command+=, Ctrl+= or - zooms in
or out, I'm going to go ahead and keep
| | 02:47 | zooming in by pressing that one more
time and then pressing it again, and you
| | 02:52 | can see how it's going
through these different zoom modes.
| | 02:55 | Now once I'm zoomed in I can simply click
-and-drag the image in order to see the
| | 02:59 | area that I want to evaluate.
| | 03:00 | In other words you don't have to use
the Navigator window in order to change
| | 03:05 | what you're viewing on you can
also simply just click-and-drag.
| | 03:07 | Well zooming out works the same way,
Command on a Mac, Ctrl on Windows, and then
| | 03:13 | the Minus key allows me to zoom
out and I'm zooming out through those
| | 03:17 | various view modes all the
way back to this Grid view.
| | 03:20 | So again it's a nice way
to change that perspective.
| | 03:24 | Another way that we can do this is we
can select a photograph like this one
| | 03:28 | here and let's say the thumbnail, well it's
really small and we want to get closer to it.
| | 03:32 | Well, we can simply double-click this file
and it will take this image to this Loupe view.
| | 03:39 | If we want to get back to the grid,
well, it's a simple double-click and it
| | 03:42 | takes us back to that Grid view.
| | 03:45 | So as you can see, there are a lot of
different ways to navigate, a lot of
| | 03:49 | different ways to do the same thing.
| | 03:51 | Now you don't have to be overwhelmed by
this, but just keep in mind that you can
| | 03:55 | kind of select the technique
that makes the most sense for you.
| | 03:59 | One last technique I want to show you here.
| | 04:01 | Let's go back to the Loupe view,
let's do that by double-clicking.
| | 04:05 | I can also single-click on an image,
and when I do that I can go to my
| | 04:09 | various zoom rates.
| | 04:10 | You can see as I'm zooming in, it's
taking me to that zoom rate there.
| | 04:15 | Let's say I change this to
something a little bit more up close.
| | 04:18 | Now as I click in that Loupe view I'm
toggling back and forth between the one
| | 04:22 | that I've determined here in that FIT in View.
| | 04:25 | As you can see as I've mentioned
before there are a lot of different ways to
| | 04:29 | zoom in and zoom out, what I recommend
is it might be helpful to re-watch this
| | 04:34 | movie and just jot down some of those
techniques or even just to pause right now
| | 04:38 | and test those different zoom
techniques out so that you can pick up and
| | 04:42 | integrate the method which
you feel will work best for you.
| | Collapse this transcript |
| Customizing the Grid and Loupe views| 00:00 | One of the things that you can customize
in Lightroom is the information that is
| | 00:03 | displayed around the various views
of the photographs. Let me explain.
| | 00:08 | I am going to go ahead and zoom in on
one of these pictures and I am going to do
| | 00:11 | this by pressing a shortcut to take
this image to the Loupe View Mode.
| | 00:15 | You remember that shortcut? It's the E key.
| | 00:16 | All right!
| | 00:17 | Well, here in the Loupe View Mode,
what I want to do is really look at how
| | 00:22 | this image was captured.
| | 00:23 | I want to get a little more information
about it to see what type of ISO I used,
| | 00:27 | or camera or lens or whatever.
| | 00:29 | In order to change what's overlaid on top of
the image, there's a couple ways to do this.
| | 00:35 | If you press the I key, think of I for
Information, you can then see this info.
| | 00:40 | It shows me the filename, when it
was captured, also the dimensions.
| | 00:44 | Press it again and we get
some different information.
| | 00:48 | What it was captured at, f / 3.5, ISO 125.
| | 00:51 | It was shot at about 70mm
focal length, using a 24-70 lens.
| | 00:58 | Sometimes this can be really
helpful or just interesting information.
| | 01:02 | Well, we can change how this
information is displayed and we can do that by
| | 01:05 | going to an area where we can customize this.
| | 01:08 | Yet, before we do that, let's go back to
the Grid View and take a look at how we
| | 01:12 | can add some info to the Grid View.
| | 01:14 | Let's press the G key, and in the Grid
View what I am going to do is increase my
| | 01:18 | Thumbnail Size by dragging the slider
to the right, and I am going to do this
| | 01:22 | just because I think it's easier for a demo.
| | 01:24 | Now, in the Grid View, rather than
pressing the I key, you press the J key.
| | 01:29 | Now, I know this is kind of a funny
shortcut, maybe a difficult one to remember,
| | 01:34 | but I'll throw it out there anyway.
| | 01:35 | Press the J key multiple times and
you can see we have different info
| | 01:39 | displayed around the image.
| | 01:41 | And again, we can press it multiple
times to toggle through the different types
| | 01:45 | of information that can be displayed there.
| | 01:47 | Well, how can we get access to what's
displayed and how can we change this?
| | 01:51 | Well, what you can do is navigate to
the View pull-down Menu and in the View
| | 01:56 | pull-down Menu you'll notice there is
an option or menu item for View Options.
| | 02:01 | When you open up View Options, you
can change what you're looking at,
| | 02:04 | either Grid or Loupe.
| | 02:06 | Currently, I am in the Grid View,
because my images are in the Grid View.
| | 02:10 | So what I can do is I can Show the Grid Extras.
| | 02:14 | In other words, I can have
other information surrounding this.
| | 02:17 | In this case, I can show the clickable
items on mouse over, I can tint them if I
| | 02:22 | have a label, I can show info
tooltips, and you can seen as I click these
| | 02:26 | options off, less and less is going to
be displayed around the photograph, and
| | 02:31 | as we do this what we can do
then is have less information.
| | 02:35 | You also notice that we have
info for Compact or Expanded Cells.
| | 02:39 | Well, let's take a look at this.
| | 02:40 | We can go to Compact Cells and it can
show us those in this view over here, and
| | 02:45 | I can add some of this information, or I
can go to Expanded Cells and then I can
| | 02:49 | add some info there.
| | 02:51 | So again, I don't think I need to go
through all of these little bits of
| | 02:54 | information, but just know that they're
there and know that you can customize them.
| | 02:58 | All right!
| | 02:58 | What about the Loupe View?
| | 03:00 | Well, if we go to the Loupe View, we have two
different Info Overlays; Info 1 and Info 2.
| | 03:05 | Let's start on 1.
| | 03:06 | In Loupe Info 1, we can choose
from a whole huge menu of information.
| | 03:11 | For example, let's say I am really
interested in the F-Stop, well, I can choose
| | 03:15 | that up top in those big bold letters,
and then underneath that perhaps I want
| | 03:19 | to get something like ISO, and
there I have that underneath it.
| | 03:23 | And then finally underneath that
I could choose my Focal Length.
| | 03:27 | And so I have all of this
essential camera information.
| | 03:30 | And the great thing about this is
that we have two options, right;
| | 03:34 | we can go between Info 1 and also Info
2, and as we choose Info 2, we have a
| | 03:39 | whole another set of controls, the same
options that we've seen before, we can
| | 03:44 | just make different selections.
| | 03:46 | Now, also it says, under General, do
you want to show a message when loading
| | 03:50 | or rendering photos.
| | 03:51 | You want to most definitely have that
turned on, otherwise it will be a little
| | 03:55 | bit annoying as the image is loading
in, it's just nice to have that little
| | 03:58 | loading message reminding you,
hey, that's what's happening.
| | 04:02 | Also, you can click to show the frame
number when displaying a video time, this
| | 04:06 | is more for video files, and you
can Play HD video at draft quality.
| | 04:11 | This allows you to have quicker access to that.
| | 04:14 | We'll talk about video a little bit
more later, but I thought it was worthwhile
| | 04:17 | to at least point those out. All right!
| | 04:19 | Well, so far so good, let's go ahead and
close out of this and go back to the image.
| | 04:24 | Well, let's say for example, that we
are in this Loupe View, and we want to
| | 04:28 | change this, but we can't
remember where that menu is.
| | 04:32 | You can also access this information by
hovering over the image and then Right
| | 04:36 | or Ctrl+Clicking and then you can
select from this contextual pop-up menu, View
| | 04:40 | Options, that's going to open
that same dialog that we saw before.
| | 04:45 | It's just kind of a nice
and quick way to access it.
| | 04:48 | So just remember that when you're
thinking about View Options, you have a couple
| | 04:52 | of ways to access that information.
| | 04:54 | If you're in the Loupe View, you can
press the I key to toggle between the
| | 04:59 | different information overlay.
| | 05:01 | When you're in the Grid Mode, you can
press the J key and that will go through
| | 05:06 | those different view modes that you
have as well, Compact or Expanded, in order
| | 05:10 | to display more or less information.
| | Collapse this transcript |
| Customizing the Filmstrip| 00:00 | While we're on the topic of talking
about information, which is surrounding or
| | 00:04 | on top of our images, I want to take
a few moments to talk about how this
| | 00:08 | relates to the Filmstrip down below.
| | 00:10 | What I want to do first though is
expand the Filmstrip, so if you position your
| | 00:14 | cursor over the edge of the Filmstrip,
right beneath the Toolbar there, you can
| | 00:18 | click and drag up in order to make that bigger.
| | 00:20 | Next, in the Toolbar it will be helpful
if you click on this button and choose
| | 00:24 | Rating and Color Label, so both of
those options are displayed here.
| | 00:29 | Next what I want to do is add a Red Label
and also a 1 Star Rating to one of the images.
| | 00:36 | Well, you'll notice that we can see that up top.
| | 00:38 | Now, that depends on our View option.
| | 00:41 | Down below you can also see that
this particular cell is tinted red.
| | 00:45 | If I click off of that your can see
the entirety of that Filmstrip cell where
| | 00:50 | that thumbnail is, is tinted red.
| | 00:52 | Well, how can we change the information
which is displayed around or on top of the image?
| | 00:57 | One of the things that you can do is
navigate to your Lightroom Preferences.
| | 01:01 | Go up to the Lightroom pull-down
Menu and then choose Preferences.
| | 01:05 | Here we want to go all the way over to the
right to Interface, then down to Filmstrip.
| | 01:10 | You'll notice we have a
number of different options.
| | 01:12 | We can choose to show or hide the
rating, the badges, the stack count,
| | 01:16 | show photo tooltips.
| | 01:18 | So again, we can turn these options on or off.
| | 01:21 | Now, it's kind of interesting, is we
have a lot control here, but we can't turn
| | 01:25 | off the tint, the tint of that background color.
| | 01:28 | To do that, what we're going to
need to do is to leave Preferences
| | 01:31 | momentarily and then go back to our
View Options, navigate to View, and then
| | 01:37 | choose View Options.
| | 01:38 | We've been here before, right?
| | 01:39 | Well, in our View Options, whether we
were in Grid or Loupe, we have different
| | 01:44 | choices we can make.
| | 01:46 | One of the options is to Tint
the grid cells with label colors.
| | 01:50 | Well, here we can turn that on or off.
| | 01:53 | As I turn it off here, it also turns
it off down below in the Filmstrip.
| | 01:58 | So again, just wanted to point that out
that you can customize that. All right!
| | 02:01 | Well, let's close these options for a moment.
| | 02:04 | How else can I modify what's
displayed on or around the Filmstrip images?
| | 02:09 | Well, another way I can make some
changes is I can right-click or Ctrl+Click on
| | 02:14 | top of the Filmstrip and
then choose View Options.
| | 02:18 | Now, what's interesting here is I
actually have to choose these one at a time,
| | 02:22 | Show Ratings and Picks, okay, I
can now see the 1 Star down there.
| | 02:26 | Right-click or Ctrl+Click>View
Options, Show Badges, okay, now I can see
| | 02:30 | those little badges.
| | 02:32 | Right-click or Ctrl+Click, so on and so forth.
| | 02:34 | So it takes a little bit more
time to add that information.
| | 02:37 | Yet, sometimes that's kind of
handy to be able to do that.
| | 02:41 | So once again just to reiterate, for
the most part you can go to your Lightroom
| | 02:45 | pull-down Menu and select Preferences,
and you can choose what you want to have
| | 02:50 | displayed there in the Filmstrip.
| | 02:52 | And in my own preference I tend to
have most of these off, because the
| | 02:56 | Filmstrip, it's just so small that
having all of that information isn't really
| | 03:00 | going to be that helpful. All right!
| | 03:02 | Well, of course a preference is
completely up to you and you want to make the
| | 03:05 | decision that makes sense to your workflow.
| | 03:08 | So whatever it is, you now know how to
customize the information that you'll see
| | 03:12 | down there in the Filmstrip,
alongside and on top of the photographs.
| | Collapse this transcript |
| Comparing two images| 00:00 | In order to follow along with the
techniques that I'll be sharing with you in
| | 00:03 | the next few movies, you want to make
sure that you have your Toolbar visible.
| | 00:08 | Now, you can show and hide the Toolbar in
the Library Module by pressing the T key.
| | 00:12 | The T key will either show or hide that Toolbar.
| | 00:16 | Next, you want to make sure you
have the View Modes turned on.
| | 00:19 | You can do that by clicking on this
button here and then selecting this option
| | 00:23 | so that your View Modes will show up
over here, make sure that is checked off,
| | 00:26 | and you'll see those two View
Mode icons right there. All right!
| | 00:29 | Well, the View Modes are really helpful
because what they allow us to do is to
| | 00:34 | evaluate pictures, to compare two
photographs side-by-side, and the two
| | 00:38 | photographs that I want to compare
initially are these two right here.
| | 00:42 | What you can do is click on one image,
hold down the Command key on the Mac,
| | 00:46 | that's Ctrl on Windows,
and then click on another.
| | 00:49 | Now, with both of those images visible,
you can either press the icon or a shortcut;
| | 00:54 | let's start off with the icon,
it's this one right here.
| | 00:57 | This allows us to have the side-by-side compare.
| | 01:00 | Now, what's great about this is in the
Toolbar, if you lock this down, if you
| | 01:04 | lock down the Zoom, you can
actually zoom these images in together.
| | 01:08 | So here they're zoomed out, next I will
zoom way in so I can evaluate the photographs.
| | 01:14 | Now, I can also click and drag and
reposition these images so that I have
| | 01:18 | different perspectives or
different views of those photos.
| | 01:21 | Now, sometimes you may find that the
interface is kind of blocking what you
| | 01:26 | need to see, because I can't really see that
much of an image when I have two up side-by-side.
| | 01:32 | This is especially true if a
photograph is in a Landscape or a
| | 01:36 | Horizontal orientation.
| | 01:37 | Well, either way, even with these
photographs, I can't see enough of the pictures.
| | 01:42 | So in that case what I want to do
is hide some or all of the interface.
| | 01:47 | There are two great
shortcuts that we can use to do this.
| | 01:49 | Do you remember them?
| | 01:50 | If you press the Tab key, that will
hide the Panels on the left and the right.
| | 01:55 | If you press Shift+Tab, what that
will do is it will hide almost all of the
| | 01:59 | interface, so now we can
just look at these two pictures.
| | 02:03 | Next, what I want to do is zoom in even
further, so I am going to go ahead and
| | 02:06 | drag the Zoom up, and I want to try
to analyze which photograph is best.
| | 02:11 | Try to find a Zoom Rate
which will look good here.
| | 02:13 | Now, when I get in really close at
this 1:1 view, all of a sudden I realize,
| | 02:18 | this image is sharp, this one isn't.
| | 02:21 | My focus is a little bit off.
| | 02:23 | There's also a little bit more Noise
there, and the Exposure isn't quite as good.
| | 02:28 | So the one on the right is the keeper,
but you may notice it gives me this
| | 02:32 | information up here, Select and Candidate.
| | 02:34 | When comparing you can always flip-flop
those simply by clicking on this button
| | 02:38 | here, and then I can say, you know what,
this is my Select, this is the better
| | 02:42 | picture and, again, we have different views;
| | 02:44 | we can look at these zoomed out or zoomed in,
based on what we need to evaluate. All right!
| | 02:49 | Well, let's bring back the interface.
| | 02:52 | In order to do that we'll
press our shortcut, it's Shift+Tab.
| | 02:56 | Now, Shift+Tab will show or hide
most of the Lightroom interface.
| | 03:01 | So what's nice about this Compare
Mode is it just gives us the ability to
| | 03:05 | really evaluate pictures.
| | 03:07 | You may also notice that down below what
you can do is you can add different ratings;
| | 03:12 | you could add a Flag, or
a Star, or Label rating.
| | 03:16 | Here I'll go ahead and click on 1 Star to
give this one a 1 Star rating. All right!
| | 03:20 | Well, let's exit out of
this Compare Mode altogether.
| | 03:24 | Let's go back to the Grid.
| | 03:25 | Here I will press the G key.
| | 03:27 | Now, back in the Grid I see two more
pictures which are very similar, this
| | 03:31 | photograph and the one next to it.
| | 03:33 | I want to compare these two.
| | 03:35 | Click on one, hold down Command on a Mac,
Ctrl on Windows and then click on another.
| | 03:40 | This time let's navigate to the
Compare Mode by way of a shortcut.
| | 03:44 | It's the C key, C for Compare.
| | 03:46 | Now, when we compare these two
photographs and say zoom in a little but, one of
| | 03:50 | the things that we may determine is,
you know what, both of these have really
| | 03:54 | nice composition, they both have
nice exposure, they both look good.
| | 03:58 | Yet, what will happen is if we minimize
the interface with our shortcut, that's
| | 04:03 | Shift+Tab, and then if we zoom out a
little bit here, what we'll see is that
| | 04:08 | side-by-side all of a sudden we
have a pretty distinct problem.
| | 04:11 | And let's move this up just a little bit here.
| | 04:14 | This one I am not level.
| | 04:15 | You can see the lean of the camera is too far.
| | 04:18 | This one is much better.
| | 04:20 | So sometimes when you're comparing
photographs, what you're looking for isn't
| | 04:23 | just the nitty-gritty and the
little details, other times perhaps it's
| | 04:27 | something a bit bigger.
| | 04:29 | So in this case, this one really
should be the Select, and we'll press this
| | 04:32 | icon here to move this one over to that Select
position, so that is now in that Select spot.
| | 04:39 | Now, to bring back everything what we
can do is press Shift+Tab and that will
| | 04:43 | then bring all of this back.
| | 04:45 | Now, if we wanted to choose another
Candidate, you could hold down the Command
| | 04:49 | key on the Mac, Ctrl key on Windows,
and then you could click on that
| | 04:52 | photograph, and what that would do is
it would then show up in that position.
| | 04:56 | So say for example, there was another
picture you wanted to compare this to.
| | 05:00 | So as you can see, this feature, while
it's kind of simple, it's actually pretty
| | 05:05 | profound, and it can really
help you find the keepers.
| | 05:09 | Because the trick with photography is
this, it's not just the capture of the
| | 05:12 | photograph, but it's knowing how to discern
and determine which photograph is the best.
| | 05:17 | It's knowing how to edit your pictures and to
find the photographs that are the absolute best.
| | Collapse this transcript |
| Surveying two or more images| 00:00 | Previously we explored how we
could compare two photographs.
| | 00:03 | What happens if you want
to compare more than two?
| | 00:06 | In order to do that you need to
use what's called Survey Mode.
| | 00:09 | Now, in order to access Survey Mode,
typically what you want to do is make a
| | 00:13 | selection of images.
| | 00:14 | Here I'm going to go ahead and just
select all five of these photographs by
| | 00:17 | clicking on one and then holding down
the Shift key and clicking on another.
| | 00:22 | Next let's click on the Survey icon.
| | 00:24 | What that will do is it will open up
all of these pictures in the Work Area.
| | 00:28 | Now, depending on the constraints of
how many photographs you have and the size
| | 00:32 | of your monitor, it will
display these images in a unique way.
| | 00:35 | For example, if I press Tab right now
to hide the Panels on the left and the
| | 00:39 | right, it lays these
images out in a different way.
| | 00:42 | Same thing could be said if I click
on one of these images on the X in the
| | 00:46 | bottom right-hand corner, you can see
that now it's changing this display.
| | 00:50 | Let's press Tab and then bring this
back and you can see how it shows these
| | 00:54 | images in different ways.
| | 00:56 | Now, why would you want
to survey your photographs?
| | 00:59 | Well, this just gives you the feel
for working with photographs together,
| | 01:02 | creating kind of a set of pictures,
seeing how images look together.
| | 01:07 | Let's try this with another
group and let's use a shortcut here.
| | 01:10 | I'm going to go ahead and
click on this folder, Beach_Family.
| | 01:13 | Next what I am going to do is I am going
to select a few pictures and I am going
| | 01:17 | to select these pictures from the Filmstrip.
| | 01:19 | I am going to hold down the Command key
on the Mac, Ctrl key on Windows and just
| | 01:23 | click through the Filmstrip, and as I
do this I am just thinking how will these
| | 01:27 | pictures work together?
| | 01:28 | Scroll along the Filmstrip here, make
a couple of more selections, and then
| | 01:33 | let's see what we have. Okay.
| | 01:35 | Well, so far we have some
photographs that are different sizes.
| | 01:38 | Let's press the Tab key.
| | 01:40 | As we press the Tab key, we
see this distinct layout, right?
| | 01:43 | And again, we're just trying to think
about how photographs might fit together.
| | 01:47 | Let's get rid of a few of them.
| | 01:49 | To get rid of a few, we can click on
the checkbox of the X in the bottom
| | 01:53 | right-hand corner, and this just gives us a
sense for how photographs might work together.
| | 01:58 | Let's try something else.
| | 02:00 | Let's exit Survey Mode here
and go back to the Grid Mode.
| | 02:03 | Press the G key to do that. All right!
| | 02:05 | Now, back in the Grid Mode, what I want
to do is scroll down to these pictures
| | 02:08 | that I have that are in the
Portrait or the Vertical orientation.
| | 02:13 | Let's say that I want to
bring a couple of these together.
| | 02:15 | So I'll go ahead and click on them,
click on one, hold down the Command key on
| | 02:20 | the Mac, Ctrl key on Windows, and then
click on a few others. All right, great!
| | 02:24 | Next thing I want to do is I want to
enter Survey Mode by way of a shortcut.
| | 02:28 | To do that you can press the N key, that
N key will take you to the Survey Mode.
| | 02:34 | What's great about this is it gives us
this ability just to quickly survey or
| | 02:37 | view these images, and sometimes what
it can do is it can help you come up with
| | 02:41 | some creative combinations of photographs.
| | 02:44 | For example, I'll press the Tab key
here to bring back my Panels so these are
| | 02:48 | a little bit closer.
| | 02:49 | It gives you some fun ideas about
possibly combining two images together like
| | 02:54 | this, having them side-by-side.
| | 02:56 | So Survey is just another way to
evaluate and view your pictures, because the
| | 03:02 | reality of photography is this.
| | 03:03 | Sometimes it is a single
image which tells the story;
| | 03:08 | other times perhaps it's a set of
photographs, which collectively and together
| | 03:12 | communicate in the most powerful way.
| | Collapse this transcript |
| Working with folders and files| 00:00 | Another essential element of working
in the Library Module is working with
| | 00:04 | folders and the images
that are in those folders.
| | 00:07 | We've been working from this folder here, it's
titled Wedding, and here I have a few raw files.
| | 00:12 | These are the files as
captured straight out of the camera.
| | 00:15 | Well, because I've selected these and
I just have five, what I want to do is
| | 00:19 | rename these images.
| | 00:21 | Well, how can we do that?
| | 00:22 | One of the ways that you can rename a
file is simply by clicking it and then by
| | 00:25 | pressing the F2 key on your keyboard.
| | 00:28 | Well, this would be helpful if you just
want to rename say one image, what about
| | 00:32 | a sequence of files?
| | 00:34 | Well, in that case what you'll want to
do is click on a photograph, hold down
| | 00:37 | the Shift key, and then click on the
last photo in the set there, and then press
| | 00:41 | F2 again, and here I'll go ahead and
just name these wedding, it gives me an
| | 00:45 | example, naming convention there -12345,
click OK, and now I've successfully
| | 00:51 | renamed those files.
| | 00:53 | What about renaming a folder?
| | 00:55 | Over here in this Folder section, one
of the things that you can do is move
| | 00:59 | your cursor over a folder and then if
you right-click or Ctrl+Click it, this
| | 01:05 | opens up a contextual menu.
| | 01:07 | Here we can rename this particular
folder and we could go ahead and do that.
| | 01:12 | Let's Rename this
Wedding-Santa-Barbara, and then click Save.
| | 01:19 | Well, here you can see the name
of that folder has been updated.
| | 01:22 | Of course if ever you make a
mistake or want to go back, you can always
| | 01:26 | right-click or Ctrl+Click and then rename
that folder back to what the name was previously.
| | 01:32 | Okay.
| | 01:32 | Well, what else can we do with folders?
| | 01:34 | Well, so far you can see
that I have a folder structure;
| | 01:38 | I have a main folder and then subfolders.
| | 01:41 | What if a subfolder is
in the incorrect location?
| | 01:45 | Say perhaps I want to move
Wedding to a completely different spot?
| | 01:49 | Well, all you need to do is simply click on
it and then reposition it and let go of it.
| | 01:53 | Lightroom will give you this warning message.
| | 01:56 | It says, hey, you are
actually Moving Files on a Disk.
| | 01:59 | This isn't just a catalogue movement,
meaning this isn't just inside of
| | 02:02 | Lightroom, this is kind of
real, this is on the hard drive.
| | 02:05 | That's great, that's what we want to
have happen, we will go ahead and click
| | 02:08 | Move, and that's really important.
| | 02:11 | Now, what can happen is that you can also
make movements "behind Lightroom's back".
| | 02:18 | Now, if you do that, you
can really get into trouble.
| | 02:21 | Let me show you what I mean.
| | 02:23 | I am going to go ahead and open up a
folder here, and I have Exercise Files, and
| | 02:27 | Wedding, and Wedding is
currently in the wrong spot.
| | 02:30 | It needs to be in the Photos folder.
| | 02:33 | So behind Lightroom's back I
am going to make this change.
| | 02:35 | I will go ahead and drag and drop that there.
| | 02:38 | It's now in this Photos folder.
| | 02:40 | Well, when I go back to Lightroom,
all of a sudden I have a problem.
| | 02:44 | This folder, the entire folder, and the
images inside it have a question mark next to them.
| | 02:50 | Something went wrong;
| | 02:51 | we made a change without
telling Lightroom what it was.
| | 02:54 | Well, the good news is we can fix this.
| | 02:57 | On a folder level all that you need to
do is to right-click or Ctrl+Click and
| | 03:02 | then select Find the Missing Folder.
| | 03:04 | Here we'll go ahead and navigate to
where this folder has been moved, in this
| | 03:08 | case Wedding, and then click Choose.
| | 03:10 | What that will do is it will update
the catalogue and it will reposition this
| | 03:14 | folder here in the correct spot.
| | 03:16 | Let's go ahead and look at that.
| | 03:18 | You can see Wedding is now
inside of that Photos folder.
| | 03:21 | So that's really helpful to, because
occasionally we'll accidentally make that
| | 03:24 | mistake and we want to know how to fix it.
| | 03:27 | Well, the last thing I want to
highlight here is how we can add folders.
| | 03:31 | Let's say, for example, in this
Wedding folder we want a subfolder.
| | 03:34 | Well, to create that, we click on the
folder we want to work in, and then in the
| | 03:39 | Folders panel, the far right-hand side,
click on the Plus icon and choose
| | 03:43 | Add Subfolder, and I'll go ahead and
just name this demo, because that's all it
| | 03:47 | is, is a demo subfolder, and click Create.
| | 03:50 | That will then create this
subfolder inside of that folder.
| | 03:54 | Now, if ever we want to remove that,
we'll click on it and then hit the Minus
| | 03:58 | button and that will
delete or remove that folder.
| | Collapse this transcript |
| Deleting and removing images from folders| 00:00 | Here, I want to take a look at how we can
remove and delete our photographs from Lightroom.
| | 00:05 | In order to understand how this works,
what I am going to do is select an image
| | 00:09 | and then right-click or Ctrl+click
and choose Show in Finder or Explorer.
| | 00:14 | This will allow me to view
the image on the hard drive.
| | 00:16 | Well, here we can see this
photograph outside of Lightroom.
| | 00:20 | This is living inside of this folder,
which is Wedding, and it's inside of these
| | 00:24 | other subfolders here.
| | 00:26 | Well, this file physically
actually exists in this location.
| | 00:30 | You'll notice it's titled
wedding-2.CR2 and it's about 20 Megs.
| | 00:35 | Well, let's say that what we want to
do is we want to remove this image from
| | 00:39 | our Lightroom catalog.
| | 00:41 | We don't want Lightroom to
recognize this file anymore.
| | 00:44 | We don't want to know it exists.
| | 00:46 | In order to remove a file, you
can press Delete or Backspace.
| | 00:51 | This will open up a very important dialog.
| | 00:54 | This says do you want to delete the
selected master photo from disk, or you
| | 00:58 | just want to remove it.
| | 01:00 | Deleting, well, it's going to move it to the
Finder's Trash and removes it from Lightroom.
| | 01:05 | Well, let's say I have a picture I
just don't want to have as part of
| | 01:08 | the Lightroom catalog.
| | 01:09 | Well, in that situation I
am going to choose Remove.
| | 01:11 | It's now gone, but it's not
really gone. Let me explain.
| | 01:16 | Let's right-click this image and go
back to that window that Finder window.
| | 01:20 | Well, it's still right there, it
hasn't disappeared, it's just that Lightroom
| | 01:25 | doesn't know about it anymore.
| | 01:26 | Well, let's say that I
want to bring this file back.
| | 01:29 | I accidentally removed it from this
location or you can do something which
| | 01:33 | is called Synchronize.
| | 01:34 | You can synchronize a folder.
| | 01:36 | To do that, you hover over the folder
and then you right-click or Ctrl+click
| | 01:41 | and choose Synchronize.
| | 01:43 | What this does is it tells
Lightroom to look at this folder on the hard
| | 01:47 | drive and say, is there any difference
between the Lightroom catalog and the actual folder.
| | 01:52 | Well, here it says yeah,
there is an image in that folder.
| | 01:55 | Here it is, you may want
to bring that in. Sure!
| | 01:58 | I'll synchronize that.
| | 01:59 | It will then bring in that image, and
so now if we go back to this Wedding
| | 02:03 | folder, well, there it is wedding-2.
| | 02:07 | So, that's how we can remove photographs.
| | 02:09 | Now, sometimes you want to do that
perhaps because you just don't want to have
| | 02:13 | certain images kind of clutter up
your Lightroom catalog but you still want
| | 02:17 | those files to exist.
| | 02:19 | Now, there're other situations where you
have a file and the exposure is just so
| | 02:24 | far off, it's not worth keeping at all.
| | 02:26 | You just need to kill it;
| | 02:27 | you need to get rid of it.
| | 02:29 | Well, in order to do that you press
Delete or Backspace and then you click on
| | 02:33 | this button here, which is Delete from Disk.
| | 02:36 | This will remove the file
from Lightroom's catalog;
| | 02:39 | it also will remove it from your hard
drive and put it in the Trash or Recycling Bin.
| | 02:43 | So that's a really important step, and
if you take that, make sure you just keep
| | 02:48 | in mind that that will really
and definitely delete the file.
| | 02:51 | Well, I actually don't want to delete
this file, so I am not going to press this
| | 02:54 | button now, but what I did want to do
was just the illustrate the difference
| | 02:58 | between Remove and Delete.
| | Collapse this transcript |
| Working with multiple hard drives| 00:00 | It is typical for almost all
photographers to work with multiple hard drives.
| | 00:04 | Therefore, here we're going to explore
how we can work with multiple hard drives
| | 00:08 | and also how we can work with what's
called the Volume browser inside of the
| | 00:12 | Folder panel in the Library module.
| | 00:14 | Well, the first thing that I need to do,
of course, is import some photographs
| | 00:18 | from another hard drive.
| | 00:19 | So, we'll go through the import
process that we've seen before.
| | 00:22 | I'll click on the Import button in the
lower left-hand corner of Lightroom here
| | 00:27 | in the Library module.
| | 00:28 | I am going to import images from this
hard drive, which I've named sashimi and
| | 00:33 | then I have a sub folder titled photo_library.
| | 00:35 | Now, what I want to do with these pictures
is simply add them to the Lightroom catalog.
| | 00:41 | In other words, we want our
photographs to stay on the external hard drive.
| | 00:45 | We don't want to move them off
of that, they can stay there.
| | 00:48 | We just want Lightroom to know that that hard
drive and this folder on that hard drive exist.
| | 00:54 | Next, on the right-hand side, we'll
do our usual File Handling settings and
| | 00:58 | Apply During Import, add a
little bit of metadata. Sure!
| | 01:01 | Next step is to simply click Import.
| | 01:04 | Now, once Lightroom picks up these
files, you'll notice that there's a
| | 01:07 | new Volume browser.
| | 01:09 | I am going to go ahead and close these
two-volume browsers just so we can focus
| | 01:12 | in on what we have here.
| | 01:14 | For starters, you'll notice there's a little
green light to the left of the hard drive name.
| | 01:19 | Now, this light is actually pretty
helpful, because here's what it's telling us.
| | 01:23 | If it's green, well, there's 10
gigabytes or more of space free;
| | 01:27 | if it's yellow, well, less than
10 gigabytes of space is free;
| | 01:31 | if it's orange, less than 5
gigabytes of space is free;
| | 01:34 | and then if it turns red, that's
when you really need to start thinking
| | 01:38 | about using a different hard drive, well,
then it has less than 1 gigabyte of space free.
| | 01:43 | You know you never want to
fill a hard drive all the way up.
| | 01:46 | Really if it gets to that orange light
you want to start thinking about using
| | 01:50 | another hard drive and not filling it up or
kind of over filling that drive with information.
| | 01:55 | Next, on the right-hand side,
we have some information.
| | 01:58 | We have information, in this case,
about the data on the drive, and you can
| | 02:02 | right-click or Ctrl+click and you
can choose different Volume Info.
| | 02:07 | Currently, it's on Disk Space.
| | 02:08 | You can choose Photo Count.
| | 02:10 | It'll update both of these or we can
choose Status, is it Online or Offline,
| | 02:14 | or of course we can simply select None,
which will take all of that information off.
| | 02:20 | Now I tend to prefer to have at least
some sort of information there, because I
| | 02:24 | think it can be valuable to say okay,
well, how full is this drive, how much
| | 02:28 | data do I have on that drive and it
gives you kind of a heads up in regards to
| | 02:31 | thinking about when you may need to
add another drive to your workflow.
| | 02:36 | A couple of other things I want to
highlight here is that if we go ahead
| | 02:39 | and open up this Volume browser, we can see
we have a number of different photographs.
| | 02:44 | Now, what's interesting about this is
we can do really anything that we want
| | 02:47 | to do in Lightroom.
| | 02:48 | We could go to Develop Module, we could
go to the Slideshow, we could create an
| | 02:52 | online web gallery,
because this drive is connected.
| | 02:55 | Yet what can happen sometimes is that
this drive may not be turned on or it
| | 02:59 | may be disconnected.
| | 03:01 | Let's go ahead and take a look at that scenario.
| | 03:04 | In order to do that, I am going to
right-click or Ctrl+click on this Volume
| | 03:08 | browser and choose Show in Finder or Explorer
and then I am going to eject the hard drive.
| | 03:14 | So, I'll go ahead and do that by
clicking on this Eject button here or by
| | 03:18 | right-clicking or Ctrl+
clicking and choosing Eject.
| | 03:21 | Now, once this is ejected, if I go
back to Lightroom what will happen in the
| | 03:25 | second is this will become grayed out.
| | 03:27 | It will tell me that this hard drive
is actually offline, in other words,
| | 03:31 | it isn't plugged in.
| | 03:33 | What's interesting though is I can
still continue to work with these files.
| | 03:37 | So, I am going to open up a larger view of this.
| | 03:40 | I could scroll through these images.
| | 03:42 | I could also add star ratings to these.
| | 03:44 | Let's say we want to add a two star to
this one and maybe a three star to this one.
| | 03:48 | We could go ahead and add
different types of metadata to these files.
| | 03:52 | We could also work with keywording
or adding comments to these pictures.
| | 03:56 | So, there's still a lot that you can do.
| | 03:58 | Compare this for a second to the Adobe Bridge.
| | 04:02 | If you're working with the Adobe
Bridge and a hard drive is turned off, well
| | 04:05 | there is nothing you can do.
| | 04:06 | You can't view files, you can't
access files, you can't do really anything.
| | 04:10 | But Lightroom, because of the catalog,
it has this built-in memory, and that's
| | 04:15 | one of the beauties, one of the
reasons why so many people like Lightroom
| | 04:19 | because we still have access to the files.
| | 04:21 | We can still view them and work with
them in some really fascinating ways.
| | 04:25 | The other thing that's helpful is
sometimes what will happen is this.
| | 04:28 | I am going to go to my Catalog panel
here and just look at All Photographs.
| | 04:32 | And let's say that as I am looking
through these photographs, I am just
| | 04:35 | scrolling through everything that I
have in my library and I come across one
| | 04:38 | that I want to work with, and let's say
it's this one here, this sunrise shot.
| | 04:42 | Well, all of a sudden I see this
little question mark (?) next to it.
| | 04:46 | What that question mark (?)
| | 04:47 | is telling me is that there's
some sort of problem with this file.
| | 04:50 | Well, I am not exactly sure what the
problem is but I am guessing it's on one of
| | 04:54 | my five hard drives, which is turned
off, because a lot of times we have a
| | 04:59 | number of different hard drives.
| | 05:00 | Well, I don't really
know which hard drive it is.
| | 05:04 | Well, there're a couple of
different ways we can find that out.
| | 05:08 | One way is to right-click or Ctrl+click
and then choose Go to Folder in the Library.
| | 05:14 | What this will do is it will take me to
that folder and then I can say oh, yeah,
| | 05:19 | that was on this particular hard drive.
| | 05:21 | I'll go ahead and flip the switch on
that one and I'll be on my way in order to
| | 05:25 | work on that image or in order to be
able to work on it and then export it to
| | 05:29 | send it to a client, because if the hard
drive isn't plugged in, there's a lot I
| | 05:34 | can't do, no develop settings, no
exporting, etcetera. You get the gist.
| | 05:39 | I can't print the pictures.
| | 05:41 | So again, this gives me a really handy
way to know which of my drives that's on
| | 05:46 | and this is really helpful if
you have multiple hard drives.
| | 05:51 | Okay, well, let's go back
to perhaps another scenario.
| | 05:53 | Go to All Photographs and let's say
we pick another picture, this one here.
| | 05:57 | And we're looking at this picture and it
tells us this one is offline or missing.
| | 06:02 | It's not part of this library.
| | 06:04 | Well, another thing that you can do is
if you go back to the Grid View, you can
| | 06:09 | click on this little question mark (?).
| | 06:10 | This will say, this file can't be used
because the original file can't be found.
| | 06:15 | Would you like to locate it?
| | 06:17 | In this case, yeah, sure.
| | 06:19 | the previous location was on a hard
drive which was called sashimi. Okay, great!
| | 06:24 | Yeah, that's right.
| | 06:25 | I forgot to turn that one on.
| | 06:26 | I'll go ahead and flip the switch on
the hard drive and then I'll be on my way.
| | 06:30 | So there you can see there're a couple
of ways to really reverse engineer or
| | 06:34 | figure out where these files are saved
or which hard drives they're on in order
| | 06:38 | to then turn that hard drive on.
| | 06:41 | And the beauty of this is that, of
course, we can start to view these files and
| | 06:46 | work with them regards to metadata or
adding labels or stars, but even more, we
| | 06:51 | don't really have to necessarily
remember where they're saved, so we can have
| | 06:56 | all of these different hard drives.
| | 06:58 | We don't have to have all of those hard
drives on at once because both you and I
| | 07:02 | know the more we have a hard drive on,
the shorter its lifespan because hard
| | 07:07 | drives have a limited lifespan.
| | 07:10 | So, in this way, I can only have my
essential hard drives on and then if I have
| | 07:14 | some files that are archives on other
hard drives, well, I can have those off
| | 07:18 | and then only turn them on as needed.
| | 07:20 | The last thing I want to point out
here is that you can of course expand and
| | 07:24 | collapse these various volume browsers,
and then if ever you decide to stop
| | 07:29 | using images on a hard drive, let's
say, for example that unfortunately the
| | 07:34 | sashimi hard drive, well, it
was lost or stolen or it died.
| | 07:39 | Well, if you need to remove this
from your Lightroom catalog, from your
| | 07:43 | Library, you can select the folder and
then click the minus button (-), this
| | 07:48 | will then remove that folder.
| | 07:49 | I'll go ahead and do that and it will
also remove the Volume browser just kind
| | 07:54 | of clean everything up.
| | 07:55 | So, now the Folders panel just
displays those hard drives which are active,
| | 07:58 | those hard drives which we want to work with.
| | Collapse this transcript |
| Dual-monitor support| 00:00 | This movie really is a bit of a bonus
movie, and it's intended to be helpful for
| | 00:04 | those of you who have two monitors.
And if you have that luxury, one of the
| | 00:08 | things that you can do in Lightroom is
you can actually display and view your
| | 00:11 | images in that second monitor.
| | 00:13 | To do this, what you need to do
is to click on this icon here.
| | 00:17 | It has the number 2 in it. Wnd when you
do that, it'll open up another display
| | 00:21 | in a second monitor.
| | 00:22 | Now, for this movie, I am just going
to have this little window sit on top of
| | 00:26 | Lightroom, because I think it's a little
bit easier to kind of see how this will
| | 00:30 | work, but you'll have to imagine this
being on a completely separate monitor.
| | 00:34 | Now, what you can do is over this 2
icon, you can right-click or Ctrl+Cclick.
| | 00:39 | You have a huge range of options.
| | 00:41 | You could show this in Full Screen.
| | 00:43 | Now, I don't want to do that, because
it would cover up what we're seeing here.
| | 00:46 | I kind of want to see them side by side.
Or you can have it in the smaller view
| | 00:50 | as I have here. It's just Show.
| | 00:52 | You can also change the different
view modes and compare, et cetera.
| | 00:56 | Let's take a look at what we have here.
| | 00:58 | We can take this to the Grid View mode.
| | 01:00 | Now, when we're in the Grid View mode,
we see these small, little thumbnails.
| | 01:03 | Now, if we zoom in on one of these to
the Loupe view mode--let's go ahead and do
| | 01:08 | that--we can then view it a little bit larger.
| | 01:10 | We can also go to something like Compare.
| | 01:13 | You may remember how this works.
| | 01:15 | You click on two images and you can
view those two side by side and evaluate if
| | 01:19 | one of those images is a keeper.
| | 01:21 | The nice thing about this is it
gives you this perspective while not
| | 01:25 | changing your main window.
| | 01:27 | So again, it just gives you
that little extra flexibility.
| | 01:30 | You can then alternate between the views.
| | 01:33 | We can also go to Survey of course,
which Survey allows us to look at
| | 01:37 | multiple images at one time.
| | 01:39 | One of the things that you can do as
well is if you're working on an image in
| | 01:43 | your main window, let's say this
photograph here, and you really like it and
| | 01:48 | you want to kind of lock this off to the side,
| | 01:50 | you can right-click or Ctrl+Click on
this and choose to Lock to Second Window.
| | 01:56 | This will then lock that file there,
so as you make changes in your main
| | 02:00 | window, you notice that the photograph in
the secondary monitor, well, it's not changing.
| | 02:06 | So why is all of this helpful?
| | 02:08 | Well, all that this does is it
just gives you another way to view and
| | 02:11 | evaluate your pictures.
| | 02:13 | Now, if you want to unlock this view,
you can always just go back to Normal by
| | 02:17 | clicking on this button here.
| | 02:19 | The last thing I need to highlight is
that there's one more button, which is Live.
| | 02:23 | When you click on Live what happens is
as you hover over your images, you get
| | 02:28 | this nice big preview on your second
monitor, so it's just obviously another way
| | 02:32 | to evaluate and view your photographs.
| | Collapse this transcript |
|
|
8. Organizing Images and Videos in the LibraryWorking with flags, stars, and labels| 00:00 | One of the reasons why I like
photography so much is that it just allows you to
| | 00:04 | do so many different
types of interesting things.
| | 00:07 | I do all sorts of editorial and
commercial work, but sometimes some of my
| | 00:11 | favorite shoots are those which
are favors, and that's what these
| | 00:14 | photographs are here.
| | 00:15 | Some family friends just asked if I
could capture some photographs of them down
| | 00:19 | at the beach, and it's really fun to do that.
| | 00:22 | After this shoot, or after any type
of a shoot, one of the most important
| | 00:27 | steps is evaluating the pictures and
trying to find the keepers, trying to
| | 00:32 | kind of find the diamonds amongst the rubble,
trying to find the images that are really good.
| | 00:38 | There's an art and craft to
selecting or to editing photographs.
| | 00:42 | And in Lightroom, in the Library
Module, we can use a few tools which can
| | 00:46 | really help us out.
| | 00:47 | I want to show you those here.
| | 00:49 | First of all, you'll need the Toolbar visible.
| | 00:51 | So in the Library Module press the
T key to either hide or show that.
| | 00:55 | Next, click on the triangle button to
turn on Flagging, Rating, and Color Label.
| | 01:00 | This will show us these three fields here.
| | 01:03 | Now, I have a slide which illustrates
some of the shortcuts for these and I want
| | 01:07 | to pull that up, because I think these
shortcuts are so worth learning, because
| | 01:11 | you're going to be rating and ranking
your files so frequently and eventually
| | 01:15 | you'll filter based on how
you rate or rank your file.
| | 01:19 | So again, it's really helpful to
learn these shortcuts. Here is the slide.
| | 01:22 | Well, for starters you can see we
have different shortcuts for Flagging;
| | 01:26 | P for Pick, that's add a flag, U for Unpick or
Unflag, and then X for Reject. Next, we have 0-5.
| | 01:33 | Now, 0 is important here, because if we
have a 2 Star rated image, the only way
| | 01:39 | to remove that star is to
press 0 and give it no stars.
| | 01:43 | Labels, they are a little bit different.
| | 01:45 | We have 6-9 for Labels.
| | 01:47 | If I want to add a Red Label, I can press 6;
| | 01:49 | to remove a Red Label,
press 6 again. All right!
| | 01:53 | Well, now that we've seen these, at
least in this slide, let's go ahead and take
| | 01:56 | a look at this in action.
| | 01:58 | Back in Lightroom, I'm going to select
one of my images, and then I want to take
| | 02:03 | it to the Loupe View Mode.
| | 02:04 | So this time I'll just double-click it
and it will take me to that Loupe View.
| | 02:08 | You can also always just click
on this Loupe button right here.
| | 02:12 | Well, I want to start adding some
Rating information to these photographs.
| | 02:16 | There are different things that I could do.
| | 02:18 | I could press P, select this as a Pick.
| | 02:21 | I could give it a Star Rating, I'll
press 2 for 2 Star, or I could give it a
| | 02:25 | Label, press 6 for a Red Label.
| | 02:28 | And what you want to do is come up with
a way to rate or rank your photographs
| | 02:33 | that make sense to you.
| | 02:34 | There are some photographers which
use all three of these criteria, while
| | 02:38 | others, they just use one, they
just Flag or just Star or just Label.
| | 02:43 | What I find is it's helpful to use
a couple of these in combination.
| | 02:47 | For example, let's say we move along through
our images and we give these a few stars here.
| | 02:51 | This one 1 star, that one 2 and, again, I'm
just kind of randomly making some choices.
| | 02:57 | And I get to a photograph like
this, which is just kind of fun.
| | 03:00 | It's not necessarily a portfolio
picture, but it's just fun, and they would
| | 03:04 | enjoy to have a print of this.
| | 03:06 | So maybe what I could do is I could give
it my Star Rating, but also add a label;
| | 03:11 | perhaps I use that Red Label as the
Label, which will remind me later to print
| | 03:16 | that picture, because at a later time
we'll be able to filter or find images
| | 03:22 | based on the criteria;
| | 03:23 | Flag, Star, or Label that
we've added. All right!
| | 03:26 | Well, let's go ahead and just make
our way through these pictures, again,
| | 03:29 | just adding a few stars on the
pictures that maybe we like and then go
| | 03:33 | through the photographs.
| | 03:35 | And I'm just going quickly here to
kind of illustrate how one might use
| | 03:39 | these types of controls. All right!
| | 03:41 | Well, after we've added those, what I
want to do then is take a look at how we
| | 03:45 | can display that information.
| | 03:47 | Here if we press the G key,
we'll go back to that Grid View.
| | 03:52 | Now, currently in the Grid View, I
can't see which image has a Star or not, at
| | 03:57 | least at first glance.
| | 03:59 | Yet, as you click around, this time
I'll click on images or use the Arrow Keys,
| | 04:04 | you'll notice that as I select an image,
the Rating is illuminated down below.
| | 04:09 | Let's go back to that first photograph.
| | 04:11 | You can see there's a Flag,
couple of Stars, and also a Red Label.
| | 04:15 | Another way to see more information
would be to go to our various View Modes.
| | 04:20 | We've already talked about this
before, but it's helpful to see it again.
| | 04:23 | Go to View, and then next go to View
Options, and here we're in this Grid View.
| | 04:29 | What we can do is Show these Grid Extras,
and here you can see we now are able
| | 04:34 | to see the 2 Star Rating, or we can
even Tint the cells with this color, so
| | 04:39 | the reds we can see.
| | 04:41 | Let's close that and you can
see as we scroll through here.
| | 04:44 | Let's add another Label.
| | 04:45 | I'll press 7 on this one.
| | 04:47 | And then this one over here I'll press 8.
| | 04:50 | And again, the whole point of this is
just to highlight this idea that you
| | 04:53 | have different ways to be able to see what type
of information you've added to your photographs.
| | 04:59 | Now, how you actually make these
choices, I think, is kind of important.
| | 05:03 | What most photographers will tell you
is that at first you want to just start
| | 05:06 | adding perhaps a lower level rating,
just kind of pick the ones that you think
| | 05:11 | are close to being keepers, and then
eventually whittle it down so you have
| | 05:15 | fewer and fewer images, until you
find the images which work best.
| | Collapse this transcript |
| Adding ratings with the Painter tool| 00:00 | Here I want to briefly take a look at
a few other methods that we can use in
| | 00:03 | order to add flags, stars,
or labels to our photographs.
| | 00:06 | Let's say, for example that we have a
photograph, I'll go ahead and click on
| | 00:10 | one here in order to enlarge it, and we want to
add some sort of a label, star, or flag to it.
| | 00:16 | One of the techniques that we can use,
of course, is a shortcut key or we can
| | 00:19 | click on one of these options down below.
| | 00:21 | Or, another technique that we can use
is actually hover over the image and then
| | 00:26 | right-click or Ctrl+click.
| | 00:29 | This opens up this contextual menu.
| | 00:31 | Now here, I can then choose one of
these options, let's say, we want to give
| | 00:34 | this a one-star rating.
| | 00:36 | So again, we can access
that menu this way as well.
| | 00:40 | Let's go back to the Grid View for a moment.
| | 00:42 | We can do that by pressing the G key.
| | 00:44 | Well, now here in the Grid View, let's
say, I am scrolling through and I know
| | 00:47 | that this image, I want to add a
label or a star or a flag to that.
| | 00:51 | Again, I can right-click or Ctrl+click and
then I can add one of those variables here.
| | 00:55 | Let's add a color label, I'll go ahead
and just add Red just for the fun of it.
| | 00:59 | Another way that we can add this type of
information is to select the photograph
| | 01:04 | and then we can go to the pulldown menu.
| | 01:06 | In the pulldown menu, what we're going
to do is navigate to the Photo pulldown
| | 01:10 | menu, and then here,
we'll have the same options;
| | 01:13 | set that Flag, set the
Rating or the Color Label.
| | 01:17 | Now one of the reasons why I want to
show you this technique is because this is
| | 01:20 | where you can find those shortcut keys.
| | 01:23 | If ever you forget, what are the
shortcuts for flags, well, there they are.
| | 01:27 | What are the shortcuts for rating?
| | 01:28 | Again, here you have them,
and also for color label.
| | 01:32 | So that can just be a really helpful way
to see those various shortcut keys there.
| | 01:36 | Reminding you that the Red label
is indeed the 6 key. All right!
| | 01:41 | You can also simply click on that
option there to add that label as well.
| | 01:45 | Well, there's one more technique that
I need to show you that has to do with
| | 01:49 | using the Painter Tool.
| | 01:50 | In order to access the Painter Tool,
you need to have the Toolbar visible.
| | 01:54 | Press the T key to either show or hide
that Toolbar, make sure it's visible,
| | 01:58 | and then the click on the Triangle
button here, which opens up what you can
| | 02:01 | have in the Toolbar.
| | 02:03 | We want to turn on the Painter Tool.
| | 02:04 | Now the Painter Tool
looks like a little spray can.
| | 02:07 | You can click on it, and once you do,
you have some options, and from this menu,
| | 02:12 | you can see that you can paint "onto
the images", Keywords, Labels, Flags,
| | 02:17 | Ratings, Metadata, Rotation,
Target Collection, so on and so forth.
| | 02:20 | Well, here we're really concerned with
our Labels, our Flags or maybe Rating.
| | 02:25 | Let's choose Rating and then perhaps, let's
say, a three-star rating or a two-star rating.
| | 02:30 | We could then move around our images
and simply click on them and once I do
| | 02:34 | that, you can see it adds that two-star rating.
| | 02:37 | Again, I'll select another image and you
can see it's giving it a two-star rating.
| | 02:41 | Now with all of these different techniques,
there is not one technique which is best.
| | 02:47 | Rather, what the Lightroom engineers
have tried to do for us is just give us a
| | 02:51 | few different ways to do the same thing.
| | 02:53 | I know some people like to work
just by clicking on the little icons
| | 02:57 | underneath the images.
| | 02:58 | Others like to work with the Toolbar.
| | 03:00 | Some like the shortcuts or the Painter Tool.
| | 03:03 | Again, it's completely up to you.
| | 03:05 | Now once you're done with the Painter
Tool, you just need to put it back in its
| | 03:07 | dock here and then you can be on your
way and continue to work on your images
| | 03:12 | and other scenarios. All right!
| | 03:13 | Well, now that we've spent all this
time adding these labels or stars or
| | 03:17 | flags, let's take a look at how we
can take advantage of all of this
| | 03:21 | information and really begin to filter
our photographs based on this metadata
| | 03:26 | we've added to these photographs and
let's look at how we can take advantage
| | 03:29 | of that in the next movie.
| | Collapse this transcript |
| Filtering by flag, stars, and labels| 00:00 | Now that we've spent some time
exploring how we can add flag, stars and labels
| | 00:03 | for our photographs, let's take a
look at how we can filter based on this
| | 00:07 | additive metadata, based on this
criteria that we've added to our photographs.
| | 00:12 | One of the things that we need to do is
to start working with the Library Filters.
| | 00:16 | Well in the Library Module, in the Grid
View, you have the Library Filter bar up top.
| | 00:21 | Now here's the a really
important shortcut for you.
| | 00:24 | If that isn't visible, you can open or
close that by pressing the Backslash key.
| | 00:30 | That's a key which leans
the left. So here it goes.
| | 00:33 | You can see it's gone, press that
key, and then it comes back. Great!
| | 00:37 | Next, we have this Attribute button here.
| | 00:39 | We're going to go ahead and click on
that and this will open up the various
| | 00:42 | attributes that we have.
| | 00:43 | We have Flags, we have Ratings
and we also have Color Labels.
| | 00:48 | Now if you ever can't really figure out
how to find that, you can always go to
| | 00:51 | your Library pulldown menu.
| | 00:53 | Let me show you this briefly.
| | 00:55 | Over here, we have the Library pulldown menu.
| | 00:58 | We can enable the filters and then
we can also filter based on a flag or
| | 01:02 | rating or a color label.
| | 01:04 | So again, we could choose that and what
that would do then is just show us the
| | 01:07 | images that have a red label attached to them.
| | 01:10 | You can also see that it
illuminated this red label button. All right!
| | 01:14 | Well, let's take a look at how
we can work with this panel here.
| | 01:17 | I am going to turn off the Red Label
option and then, let's say, we want to
| | 01:21 | filter based on star rating.
| | 01:23 | I'll go ahead and click on one star.
| | 01:25 | Here is one star or more, you
can see we have various images.
| | 01:29 | Well, let's say that what I really
want is to find the images with a one star
| | 01:33 | rating and a color label.
| | 01:35 | Well, I can then select that color
label and this will show me the images that
| | 01:38 | have a one or more star rating,
because that's what this sign stands for, and
| | 01:42 | then it shows me all of those photographs one
or more stars and, of course, that red label.
| | 01:47 | So, all I am trying to illustrate
here is that we can combine these
| | 01:50 | different attributes.
| | 01:51 | We can also say, well,
let's add flag to the mix.
| | 01:54 | Now once we do that we only
have one image with all of those
| | 01:58 | different attributes.
| | 01:59 | It has a flag, it has a one or more
star rating and it has that red label.
| | 02:04 | Now this is dynamic, of course, we can
take these off one at a time and start
| | 02:07 | to see what we have.
| | 02:09 | Here are two images just with that flag rating,
and you can always click those on and off.
| | 02:13 | Well, this is really helpful,
of course, the Library Filters.
| | 02:17 | Well there's another way
we can access this as well.
| | 02:20 | If you go down to the filmstrip down
below, you'll notice we have this filtering
| | 02:24 | option here, click on this pulldown menu,
and you can say, you know what, show
| | 02:28 | me the images that are rated, images
that have some sort of a star rating.
| | 02:32 | Well, there they are.
| | 02:33 | We can change the star
rating in this field here.
| | 02:36 | Now there's a great shortcut, which
allows you to turn all of this library
| | 02:41 | filtering on and off and that
shortcut is helpful. Here's why.
| | 02:46 | Let's say that right now we have these
images that have a two star rating, but
| | 02:50 | we want to see what else is in
this folder or if we're working in the
| | 02:53 | collection, what else is in the collection.
| | 02:55 | Well, in order to turn this off,
you can press the shortcut key.
| | 02:58 | Let me show it to you here.
| | 03:00 | You go to the Library pulldown menu,
you'll notice it right here it's Command+L
| | 03:04 | on a Mac that's Ctrl+L on Windows.
| | 03:07 | I wanted to show it to you here in case
you forget it, just go to that Library
| | 03:11 | pulldown menu and you can find
it, remind yourself what it is.
| | 03:15 | So, when I press that shortcut what
it will do is it will toggle on and off
| | 03:20 | the library filtering.
| | 03:22 | You can also do the same exact thing by
flipping the switch over here on the right.
| | 03:27 | This flips this on and off.
| | 03:29 | Okay, well, so far we've been getting
through kind of the mechanics of working
| | 03:33 | with all of these different types of criteria.
| | 03:35 | What I want to do next is take
a look at a little bit more of a
| | 03:38 | realistic scenario.
| | 03:39 | So far I've just been faking it, I've been
adding just a random flags or stars or labels.
| | 03:44 | Let's take a look a little bit more of
a realistic scenario of adding relevant
| | 03:49 | or important stars or labels
and then filtering based on those.
| | 03:53 | Let's simulate a little bit of a
workflow and let's do that in the next movie.
| | Collapse this transcript |
| A filtering workflow| 00:00 | Here we're going to take a look at
how we can use these different library
| | 00:02 | filters in a little bit more of a realistic way.
| | 00:05 | Yet, before we do that, we need to
remove these Flag, Stars, and Labels, and
| | 00:10 | so this is going to be helpful
because there will be times when you need to
| | 00:13 | remove this information.
| | 00:15 | For example, let's select this first image.
| | 00:17 | Well, to remove the Flag, the best way
to do that is to press the shortcut for
| | 00:22 | Unpick, that's the U key.
| | 00:24 | Now, what about the Label?
| | 00:25 | Well, to remove the label, we can just
click on this label icon here to remove that.
| | 00:30 | Stars though, there isn't an icon we
can press in order to remove Stars, we
| | 00:35 | have to add 0 Stars.
| | 00:37 | So in this case we press the 0 key,
that will remove all of those.
| | 00:41 | Now, what about the other images?
| | 00:43 | Well, we could do the same thing with those.
| | 00:45 | We could actually select all of these and
remove all of them at one time. Let's do that.
| | 00:50 | On a Mac, press Command+A; on
Windows that's Ctrl+A. Next, let's add a Red
| | 00:55 | Label, so they all have red labels,
and then click the Red Label icon again,
| | 00:59 | now they all have no labels.
| | 01:01 | That was easy, right?
| | 01:02 | And what about the Stars?
| | 01:04 | Let's add 0 Stars to all
of them, so press the 0 key.
| | 01:08 | Flags, you remember that one,
it's U for Unpick. Okay.
| | 01:11 | Well, basically we just kind of reset
everything back to normal so that we can
| | 01:15 | start to work on these files.
| | 01:17 | Next, what I want to do is I want to
start off on the first image and go through
| | 01:21 | these and add some Stars or Labels.
| | 01:24 | So in this case, I am going to press
the E key to take this image to the Loupe
| | 01:28 | View, or perhaps maybe we'll double-click it.
| | 01:31 | Both techniques take us to the same spot.
| | 01:33 | Now, I like this picture so I am
going to give it a 2 Star Rating, and then
| | 01:37 | press my Right Arrow Key to move to
the next photograph. This one is okay;
| | 01:41 | I am going to give it a 1 Star.
| | 01:43 | This one, a 1 Star as well, and I'm
pressing my Right Arrow Key each time
| | 01:48 | after I add a Label.
| | 01:49 | This one I like, 2 Stars;
| | 01:51 | this one is kind of fun, emotion, 2 Stars;
| | 01:54 | this one I am going to leave the Label off;
| | 01:56 | this one, we'll give it 2.
| | 01:58 | And then compare these two using the
Arrow Keys, kind of going back and forth,
| | 02:03 | seeing which one we liked best.
| | 02:05 | I think this one out of the two is the
best, give it a 2 Star Rating, and you
| | 02:08 | can see how we're just working through
our photographs, pressing those Arrow
| | 02:12 | Keys, adding different
types of rating to these files.
| | 02:15 | And again, I'm just trying to find the
ones that I think work well, that perhaps
| | 02:19 | have nice expressions that I like. Okay.
| | 02:22 | Well, now that I've done that, and now
that I've just been working with these
| | 02:26 | Star Ratings, what I want to
do then is filter based on that.
| | 02:30 | Well, my Filter Bar, it's gone.
| | 02:32 | How can I bring that back?
| | 02:34 | What can I do to get back to that?
| | 02:36 | Well, you may remember that there is a
great shortcut key, it's the Backslash key.
| | 02:42 | Now, the Backslash, that's a
slash which leans to the right.
| | 02:45 | By default, it takes us back to this Grid
View and it opens up the Library Filter.
| | 02:50 | Now, out there what we want to do is
click on the Attribute button, and then
| | 02:54 | with the Attribute I want to say show
me my images that are 1 or more stars.
| | 02:59 | Well, great, I now have a
smaller set of photographs.
| | 03:03 | You can see down here below I have 17 of the 23.
| | 03:07 | These are the ones that I
am liking a little bit more.
| | 03:10 | Then I'll click on 2 Stars, and now I
have 6 of 23, the 6 that I think are
| | 03:15 | perhaps some of the ones
that are better in the set.
| | 03:18 | Now, what we'd want to do with this is
then perhaps we want to add a few labels.
| | 03:23 | In this case let's say there are
some photographs we want to print.
| | 03:25 | I want to print that one, so I am
going to add a Red Label to this one, so I
| | 03:28 | will go ahead and click on Red there.
| | 03:30 | Use my Arrow Keys and maybe zoom in a
little bit, sure they would like that, and
| | 03:35 | then also perhaps this one.
| | 03:37 | Now, I'm not really evaluating
these photographs, because to do that I
| | 03:40 | would need to get in the Editing Mode yet, I
am trying to illustrate the sense of workflow.
| | 03:46 | So let's go back to the Grid View for a
second, and in this workflow what we've
| | 03:50 | done is we've here employed or used
Stars and Labels, and that's allowed us to
| | 03:56 | determine which photographs we really like.
| | 03:58 | Now, sometimes what may happen is you
may go to say one or more stars and you
| | 04:02 | say, well, I feel like I missed one of
the images, I feel like in the set, these
| | 04:07 | are all the keepers, these are the ones
I'll give to the client, or my friends
| | 04:10 | in this case, but I think I missed one.
| | 04:13 | Well, there is a great
little technique you can use.
| | 04:15 | Right above the Filmstrip down here,
you can choose to view the files that are
| | 04:20 | not rated, the Unrated files.
| | 04:23 | In this case we have 6 of the 23
files that we didn't include in the set.
| | 04:28 | Now, if we double-click one, we could go
through and say, you know what, perhaps
| | 04:32 | one of these is really fun, perhaps
they're going to like this picture.
| | 04:35 | Well, here, let's just add a 1 Star
Rating, it will then disappear from this
| | 04:40 | Unrated filtered set.
| | 04:42 | So filtering can really help out and
it can really help you see things in
| | 04:45 | an interesting way.
| | 04:47 | How about filtering in this Loupe View?
| | 04:49 | We don't want to go back to the Grid View,
we just want to filter here. We can do that.
| | 04:54 | From this pull-down menu let's choose Rated.
| | 04:56 | Show me the photographs with 1 or more
Star Rating, or show me those pictures
| | 05:01 | that have a Red Label, and so here you
can see we have these various pictures
| | 05:05 | down below, and we can access them
this way, and we have all of these
| | 05:09 | photographs here in this nice little set.
| | 05:12 | So what I'm trying to illustrate here is this.
| | 05:14 | A lot of times we'll start off from
the Grid View, just kind of get a feel
| | 05:18 | for our photographs.
| | 05:20 | Then, we'll zoom into those pictures,
and as we do that, we'll click through
| | 05:23 | them, adding Stars, or Labels, or Flags.
| | 05:26 | Then, once we've done that, a lot of
times what we're going to start to do is
| | 05:30 | to filter what we see.
| | 05:32 | We can either do that filter here in
the Loupe View, by taking advantage of
| | 05:36 | these controls here, or by going back
to the Grid View and clicking on the word
| | 05:41 | Attribute and taking
advantage of the controls here.
| | 05:44 | You'll notice that the controls are
exactly the same, they're just in two
| | 05:47 | different locations, allowing us to do this
filtering in the Grid or in the Loupe View.
| | Collapse this transcript |
| Filtering by file type| 00:00 | While we're in the topic of Library
Filtering, and Library Filtering based on
| | 00:04 | Attribute, there's something
else that I want to talk about.
| | 00:06 | If we go to this Attribute button here,
you notice we have Flags, Ratings, Color
| | 00:10 | label, and also Kind.
| | 00:12 | In order to talk about Filtering by Kind,
what we need to do is navigate to the
| | 00:17 | Exercise Files folder, so that we
can see all of these images here.
| | 00:21 | Now, we have different types of images.
| | 00:23 | We have photographs, we also have video
files and there's another type of file
| | 00:27 | that we can create inside of Lightroom.
| | 00:29 | We haven't talked about this file yet.
| | 00:31 | Yet, I want to create one just so
we can start to filter based on it.
| | 00:35 | If you select an image, you can
then right-click or Ctrl+Click on that.
| | 00:40 | You have an option to create
what's called a Virtual Copy.
| | 00:43 | Now, Virtual Copy is kind of interesting.
| | 00:45 | What it is, is just another version of
this photograph and you can create these
| | 00:49 | versions without
increasing your overall file size.
| | 00:52 | Now, we'll talk much more about
these when we get to the Develop module.
| | 00:56 | Yet, for now, let's just create this one.
| | 00:58 | Again, you can do that by
right-clicking or Ctrl+Clicking, and then by
| | 01:01 | choosing Virtual Copy.
| | 01:02 | Well now that we've done
that, let's go to Attribute.
| | 01:06 | Over here in the Attribute options
on the far-right, you can see that we
| | 01:09 | have various kinds.
| | 01:11 | We can filter by the Master Photographs.
| | 01:13 | Let's turn off the Star
Rating here of course as well.
| | 01:16 | These are going to be the
photographs that are the originals;
| | 01:18 | the ones that aren't virtual copies or
we could turn that criteria off and just
| | 01:23 | sort based on virtual copies.
| | 01:25 | Now, out of all of these
files, there is only one.
| | 01:28 | So this type of filtering is really
helpful whether it's the original file,
| | 01:32 | or the virtual copy.
| | 01:34 | Let's turn that option off.
| | 01:35 | The third option we have
has to do with Video Format.
| | 01:38 | Here, we can click on this option and
it will just show us the video files that
| | 01:42 | we have, in all of these folders and subfolders.
| | 01:45 | So as you can see Filtering by Kind can
be really helpful because it can quickly
| | 01:49 | help us get access to
those different types of files.
| | Collapse this transcript |
| Filtering by type and metadata| 00:00 | While we're on the topic of library
filtering, it'll be helpful to talk a little
| | 00:03 | bit about filtering based on text or metadata.
| | 00:07 | Now this is pretty
straightforward, which is great.
| | 00:09 | Here's what you can do.
| | 00:11 | If you want to filter based on text,
you can simply click on this Text button
| | 00:14 | here and this will open up this field.
| | 00:16 | Now we can search by text based on a file name
perhaps or we have a number of other options;
| | 00:23 | Title, Captions, Keywords,
Metadata, so on and so forth.
| | 00:27 | Let's change this to say Any Searchable Field.
| | 00:31 | What I can do is I can then type something up.
| | 00:33 | I want to find photos that have the
word Jeff associated with it, and here are
| | 00:38 | nine pictures out of this whole set.
| | 00:40 | In this case, these files are all
named jeff, you can see jeff-1, jeff-2,
| | 00:43 | jeff-3, or jeff-4, or maybe you want to
find photos that are just in a travel folder.
| | 00:49 | Here I'll go ahead and type that out.
| | 00:50 | You can see it's opening up all of
those images that are in that particular
| | 00:55 | folder or have that word associated with them.
| | 00:58 | What's great about this is we can
search for specific or really general terms.
| | 01:02 | For example, if I change this to
Filename and search for travel, well, I don't
| | 01:07 | have anything at all.
| | 01:09 | So sometimes it's helpful to search
for specifics, filename, or perhaps more
| | 01:12 | global search, Any Searchable Field.
| | 01:15 | The last thing I want to point out here
is that I am going to go ahead and take
| | 01:18 | this off and close this window and it's
that we can access this menu by way of a
| | 01:23 | handy little shortcut.
| | 01:25 | This is a shortcut you probably want to
remember because it's just kind of one
| | 01:28 | of those standard essential shortcuts.
| | 01:31 | On a Mac, you press, Command+F; on
Windows, that's Ctrl+F. Think of F as in
| | 01:36 | Find, because this is kind of like a
Find search and that opens up that field
| | 01:41 | and you can start searching.
| | 01:42 | Let's close that and move over to Metadata.
| | 01:45 | Now Metadata is fascinating.
| | 01:47 | What this allows us to do is to search by a
whole range of different types of criteria.
| | 01:53 | In other words, let's say I want to
see the Photoshop documents I have in
| | 01:57 | this set of folders.
| | 01:59 | Well, there they are.
| | 02:00 | I can go ahead and go back to all file types,
or I can look at images based on lenses.
| | 02:05 | Let's say, I want to see photographs
that were captured with this particular
| | 02:08 | 135 millimeter lens.
| | 02:10 | Well, there you have it.
| | 02:11 | All of those photographs are there.
| | 02:13 | And as I change each of these fields, you
notice that the other fields change as well.
| | 02:18 | So the images that were captured
with this lens, I have photographs that
| | 02:22 | were captured with different ISO
ratings and we could select those and see
| | 02:26 | which images those were.
| | 02:28 | Now as we make our way through this,
you can also make changes here.
| | 02:32 | Over here on the right, it says show us
the photos that are based on labels, Red
| | 02:36 | labels, or we could go to say Keywords
and we could look at different keywords
| | 02:40 | that we have associated with these images.
| | 02:43 | We could then click on one of those
keywords and it will show us those images
| | 02:47 | that have that exact keyword.
| | 02:49 | So as you can see, the Metadata
filtering is actually quite powerful and
| | 02:53 | really customizable.
| | 02:55 | We can change these different fields
and we can combine these together in order
| | 02:59 | to come up with some great options.
| | 03:02 | The last thing I want to point out
here is you may notice this really faint
| | 03:05 | little icon on the right.
| | 03:07 | If you click on that, you can actually
add columns, so you can add columns and
| | 03:11 | have more information here.
| | 03:13 | So in this case, I could have something
different perhaps like the camera that
| | 03:16 | was used in order to capture a
photograph or any of those other options.
| | Collapse this transcript |
| Sorting photos| 00:00 | Another way that we can organize our
files is by sorting, and here we're going to
| | 00:03 | take a look at how we can do that.
| | 00:05 | For starters, you'll need to have
the toolbar visible. Remember the T key
| | 00:09 | hides or shows that.
| | 00:10 | Press it so that that is visible.
| | 00:13 | Next, click on the button to
open the options for the toolbar.
| | 00:17 | We want to turn off let's say Painter,
just to open up a little space here, and
| | 00:20 | then turn on Sorting.
| | 00:22 | Here you can see we have some Sort options.
| | 00:25 | In order to see how this works, I'm
going to make my thumbnails a little bit
| | 00:28 | smaller here so that we can
see most of them at one glance.
| | 00:32 | Now currently they're
been sorted by Capture Time.
| | 00:35 | I can also change this.
| | 00:37 | Let's say by File Name.
| | 00:38 | So now, what we'll see up at the top is
this is beach_family_01. Down at the
| | 00:43 | bottom, beach_family_23.
| | 00:46 | So we can reverse this order.
| | 00:48 | You do that simply by clicking this button here.
| | 00:51 | So now it's starting in reverse order,
23, 22, 21, and so on and so forth.
| | 00:57 | We can sort by other criteria as well.
| | 01:00 | If we click on this menu, you'll
notice you can sort by Capture Time, Edit
| | 01:04 | Time, Rating, Pick, Label, Label Color,
Extension, Aspect Ratio, and so on and so forth.
| | 01:11 | Let's try Aspect Ratio for an instance.
| | 01:13 | Here we can see all of the vertical
orientation pictures first, and then we have
| | 01:18 | the landscape or horizontal
orientation pictures here or aspect ratio.
| | 01:22 | So again, these different types of
criteria can really help us find or organize
| | 01:26 | these images in some interesting ways.
| | 01:28 | Now let's say that we forget about
how to find the Sort feature here.
| | 01:33 | Where else can we access this information?
| | 01:36 | We could also go to the View
pulldown menu, and in that menu you'll notice
| | 01:40 | there is an option for Sort.
| | 01:42 | Here is the same exact menu,
as we saw below in the Toolbar.
| | 01:47 | And again I just want to highlight
this, in case you misplaced that or
| | 01:50 | forget where that is,
| | 01:51 | and also to point out that there are
two ways to access the Sorting options
| | 01:55 | in the Library module.
| | Collapse this transcript |
| Stacking photos into groups| 00:00 | One of the things that makes a
photographer good really is the ability to kind
| | 00:03 | of work a location, to capture
images in a similar setting, but to have a
| | 00:08 | different perspective or an angle.
| | 00:10 | And because of this, after the fact a
lot of times we have images which are
| | 00:13 | similar, but a touch different.
| | 00:15 | Wouldn't it be nice if we could group
or organize those photographs somehow
| | 00:20 | together, like here with these pictures?
| | 00:22 | You can see I have some which are
captured at the water's edge and then a few
| | 00:26 | others captured in front of this kind of
stone wall, and then a few others, which
| | 00:30 | were close up of this particular person.
| | 00:32 | Well, how could we group
or stack these together?
| | 00:34 | Well, you can do this by selecting
the images and then putting them in
| | 00:38 | what's called a stack.
| | 00:39 | So let's take a look at how we can do that.
| | 00:42 | On a Mac hold down the Command key, on
Windows that's Ctrl, and then click on
| | 00:46 | the images that you want to group together.
| | 00:48 | In this case, these four, these
were all captured at the water's edge.
| | 00:53 | Next, navigate to the Photo
pull-down Menu, then go to Stacking.
| | 00:58 | Here you can see we have an
option to Group into Stack.
| | 01:01 | We also have a shortcut key there,
but let's just click on this for now.
| | 01:05 | Well, once I've done that all of the sudden
those other images are gone. Where are they?
| | 01:10 | You notice that the icon
has changed a little bit here.
| | 01:13 | Let's increase the Size so we can see that.
| | 01:15 | There are these two little lines.
| | 01:17 | Now, if I click on these, it expands this
stack, click on it again, it collapses that.
| | 01:23 | So what's nice about this is I can have
these images all kind of grouped together.
| | 01:28 | Now, I can add other
images to this group as well.
| | 01:31 | I see one I need to add, right?
| | 01:33 | This was captured at the water's edge, I
am going to go ahead and click and drag
| | 01:36 | that into that stack.
| | 01:37 | Well, now it's part of that.
| | 01:39 | Let's take a look at how we can do
this by way of a shortcut as well.
| | 01:42 | Here are three images we
might want to group together.
| | 01:45 | Click on one, hold down the Command key
on a Mac, Ctrl key on Windows, and then
| | 01:49 | click on the others.
| | 01:50 | Then navigate to your Photo pull-down
Menu, and you may remember we saw a
| | 01:54 | shortcut here, right, it's Command+G
on a Mac, that's Ctrl+G on Windows.
| | 02:00 | So let's go ahead and use that shortcut,
and we will just press that, Command+G
| | 02:04 | or Ctrl+G, that will
then turn this into a stack.
| | 02:08 | Let's take a look at one more
scenario here, and I am going to make the
| | 02:11 | thumbnails just a touch
smaller so we can see what we have.
| | 02:13 | Well, in this case, I want to
work with these four images.
| | 02:18 | Click on one, hold down the Shift key,
click on the last one, and it will select
| | 02:23 | all of these contiguous files, and
then let's use our shortcut, Command+G or
| | 02:27 | Ctrl+G.Well, what about a
shortcut to open up the stack?
| | 02:32 | Well, you can press the S key, think
of S for Stack, to either expand or
| | 02:38 | collapse that stack.
| | 02:40 | So again, this just gives us the
ability to kind of group things together, and
| | 02:43 | what it can do for us is if we go
through and say with this set, we'll just
| | 02:47 | group these together here, and try to
get the images all captured by the water's
| | 02:51 | edge in this stack over here, and
these images kind of captured at that spot
| | 02:57 | there, it all of a sudden helps
us make sense of this library.
| | 03:01 | Now, it looks like we have much fewer
images, and what this can do for us is
| | 03:06 | oftentimes when we're working with
some sort of a subject and we're creating
| | 03:10 | images, well, we may want to access
certain pictures, like all those photographs
| | 03:15 | of that one aspen tree, or perhaps all
those pictures of that sunset, or maybe
| | 03:19 | all those photographs of that person
trying to score a goal in soccer, whatever
| | 03:23 | it is that we've grouped into a stack,
we'll have those in that little stack.
| | 03:27 | We can then click on it, press the S
key to expand that, and then access and
| | 03:31 | work on those photos.
| | 03:32 | Now, the great thing about this is if
you press the S key again and collapse it,
| | 03:37 | you can also expand all of these at once.
| | 03:40 | Click on the first stack, hold down the
Shift key, click on the last one here,
| | 03:44 | all these images, and then press the S key.
| | 03:46 | What that will do is it will just
expand everything so that all of those
| | 03:50 | stacks are wide open.
| | 03:51 | So you can work on or view those files.
| | 03:54 | Then of course if you want to close
things back up, well, just press S again and
| | 03:58 | it will collapse all of those stacks.
| | 04:01 | So now after having seen how this works,
what you want to start to think about
| | 04:06 | is how can I use this.
| | 04:07 | Because the trick with this of course
is that it's kind of interesting, but it
| | 04:11 | has to match your own workflow.
| | 04:13 | So what I recommend you do is start to
experiment with this, write down a few of
| | 04:17 | those shortcuts and just think about
how stacking might be helpful for you as
| | 04:22 | you seek to organize your images
and video files in the Library Module.
| | Collapse this transcript |
|
|
9. Organizing with CollectionsUsing Smart Collections| 00:00 | Just having finished our conversation
in the previous chapter about filtering
| | 00:03 | and sorting and stacking, it's a
perfect time to talk about collections, in
| | 00:08 | particular, Smart Collections.
| | 00:10 | What I want to do here is navigate
to the Exercise Files folder, so we're
| | 00:14 | viewing all of those Exercise Files.
| | 00:16 | And then I'm going to close this Folders folder
for a moment, so we can focus in on Collections.
| | 00:21 | Now, there are two
different types of Collections.
| | 00:24 | We're going to start off with Smart Collections.
| | 00:26 | By default, Lightroom will come
preinstalled with some Smart Collections.
| | 00:30 | Yours may look a little bit different
than mine, but basically what these are,
| | 00:34 | are collections which allow us to kind
of sort or filter our photo library based
| | 00:39 | on certain criteria.
| | 00:40 | In other words, let's say I want to
find the files that have a red label.
| | 00:44 | Well, here click on that option, it shows
me all of those images with a red label.
| | 00:48 | Or let's say I want to find files that
are video files and, again, here I can
| | 00:52 | simply choose one of those options
and then I can see those video files.
| | 00:56 | Well, Smart Collections are great,
right, because they allow us to really
| | 01:01 | quickly find images based on certain
predefined, kind of general, criteria.
| | 01:07 | Well, what if I just want to remove
this criteria and see all the images?
| | 01:11 | Well, if I go back to the Smart
Collections field here, I am now seeing all of
| | 01:14 | the photographs that I have
in this particular library.
| | 01:17 | Well, I want to create my own
Smart Collection. How do we do that?
| | 01:22 | What you do is you click on this Plus (+)
icon here and choose Create Smart Collection.
| | 01:27 | Now, this will open up the
Create Smart Collection dialog.
| | 01:31 | The first thing we need to do is to give
this a name, and I'm going to name this Jeff.
| | 01:35 | Now, I want this to be Inside of a
Collection Set, inside of my Smart Collections.
| | 01:40 | If I had it Next to the Collection Set
"Smart Collections", it just would be
| | 01:44 | outside of this folder.
| | 01:45 | I want it to be inside of this folder.
| | 01:47 | And then I want it to Match all of these rules.
| | 01:49 | I want the Filename to contain something.
| | 01:52 | In this case, the word "jeff."
| | 01:53 | You can see from this pull-down
menu, you can choose almost anything.
| | 01:57 | You can choose Rating, Pick, Label, and
you can go through the menu and see what
| | 02:02 | the other options are.
| | 02:03 | In this case, I've chosen Filename
and I've typed out the word "jeff."
| | 02:07 | I want to create a Smart
Collection that finds any files in my entire
| | 02:11 | library with this name.
| | 02:13 | Let's say this is someone that I've
photographed in a number of different
| | 02:16 | scenarios, I want to find those images,
and I want to find them really quickly.
| | 02:20 | Well, in this case, we'll
go ahead and click Create.
| | 02:23 | Here you can see we have that and it
will show us those nine images which have
| | 02:27 | that particular criteria.
| | 02:29 | Now, what's great about this is that
we can continually modify these, right?
| | 02:33 | What you can do is go ahead and right-
click or Ctrl+Click that Collection and
| | 02:37 | choose Edit Smart Collection.
| | 02:39 | Let's say that what I want to do is
have a Filename, but also, I just want to
| | 02:43 | see the ones with a certain Aspect Ratio.
| | 02:46 | Let's see if we can find that Aspect Ratio.
| | 02:48 | Where is that one located here in this list?
| | 02:51 | All right, it's all the way down here
at the bottom, we'll choose Aspect Ratio.
| | 02:54 | Now, we want to adjust the images that
have this portrait orientation and then
| | 02:58 | we'll click Save, and you can see
here now it's just going to show us those
| | 03:02 | files that have that
criteria or that meet that criteria.
| | 03:06 | And so what's great about Smart
Collections is, it's really this kind of
| | 03:10 | predefined criteria, and it's a
way to access files really quickly.
| | 03:15 | Now, what you want to think about is
how you can tie this to different types of
| | 03:19 | filtering and labels and
stars and how you shoot.
| | 03:22 | In other words, let's say you've
decided that one label color is your label
| | 03:26 | color for a portfolio.
| | 03:28 | Those are your best images and you
have that particular label color.
| | 03:32 | Well, then you could create, for example,
a Smart Collection based on that label
| | 03:36 | color, so that you just see those
images which you feel are your best.
| | 03:41 | Or you could create a criteria based on
any type of information, combining some
| | 03:45 | of these different filtering options together.
| | 03:47 | So in a sense, Smart Collections,
really all that they are is a type of
| | 03:51 | filtering, but it's
filtering with a built-in memory.
| | 03:55 | In other words, you don't have to dial
in the attributes every time, rather you
| | 04:00 | set it up once, it's always there, and
then you can always access and find those
| | 04:04 | images based on that criteria.
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| Using Quick Collections| 00:00 | One of the things that happens quite
often to us photographers is that we shoot
| | 00:04 | a lot of different types of pictures,
and we may have pictures even on one
| | 00:07 | compact flash card of different
subjects, or different scenes or scenarios or
| | 00:12 | perhaps we just have a folder with
different types of photographs in it.
| | 00:15 | We want to select a few,
kind of set those aside.
| | 00:19 | Well, one of the things that we can
do in order to do that is to use what's
| | 00:22 | called Quick Collections.
| | 00:24 | Now Quick Collections are kind of interesting.
| | 00:26 | You can find them if you open up the
Catalog panel, there will be an option
| | 00:30 | for Quick Collection.
| | 00:31 | What you can do is select a photograph,
say like this one here, and then simply
| | 00:35 | drag-and-drop it into that Quick Collection.
| | 00:38 | You can also click on a
photograph and add it by way of a shortcut.
| | 00:43 | Now the shortcut in my opinion is a lot
easier, so I want to give that to you here.
| | 00:48 | The shortcut is B, the B key will
add the photograph to the collection.
| | 00:52 | Press it again, and it will
remove it from that Quick Collection.
| | 00:56 | Now you may notice that the Quick
Collection has an icon next to it, this
| | 01:00 | little Plus (+) sign, that shows
us that this is the indeed targeted
| | 01:05 | collection, the Quick Collection.
| | 01:07 | So here I will go ahead and press the B
key and then select a few other images
| | 01:10 | to add to this Quick Collection. All right!
| | 01:13 | Well now that I have done that, let's
say I just want to view, out of my entire
| | 01:17 | library here, out of all these pictures,
I just want to see the photographs that
| | 01:22 | are in that Quick Collection.
| | 01:24 | Well, to do that we simply click on
this area here, it will then show us these
| | 01:29 | six pictures which we could then work on.
| | 01:31 | Now what's interesting about Quick
Collection is that it doesn't have
| | 01:36 | any built-in memory.
| | 01:38 | In other words, if we quit Lightroom
and reopen it, it's not going to remember
| | 01:42 | what was in our last Quick Collection.
| | 01:44 | If you can think back to Photoshop for
a second, if you are a Photoshop user
| | 01:48 | there is something called Quick Mask,
it just kind of a temporary way to
| | 01:52 | generate a quick little mask and
then to do something else with that.
| | 01:57 | Well, here it's a same thing.
| | 01:58 | It's a temporary or just kind of this
quick way to make a selection of photographs.
| | 02:02 | Well what we typically would want to
do here, is turn this Quick Collection
| | 02:07 | into a collection that we could then
save, or to save this set of photographs
| | 02:13 | in some sort of a way.
| | 02:14 | Well, in order to do that we would need to
create just a regular or a normal collection.
| | 02:18 | Let's take a look at how we can create
regular or normal collections in the next movie.
| | Collapse this transcript |
| What is a collection?| 00:00 | Collections are incredibly important in
Lightroom, yet sometimes this topic, it
| | 00:05 | can be a little bit vague or even confusing.
| | 00:08 | Therefore, what I want to do here is take a
couple of minutes and talk about Collections.
| | 00:13 | What is a Collection and what's the
big deal about Collections in Lightroom?
| | 00:18 | Well, I think one of the first
places to start in understanding what a
| | 00:22 | Collection is, is in defining what it
isn't, and a Collection isn't a folder.
| | 00:28 | Now, if you think about a folder for
an instance, we have folders on hard
| | 00:31 | drives, internal, external, whatever.
| | 00:34 | And on this folder we can have information.
| | 00:37 | Now, this information in a sense is kind
of locked down, and that's what makes a
| | 00:42 | folder good, in a sense, it's linked,
it's chained to a particular spot, we'll have
| | 00:47 | an image or a video file
which lives in one location.
| | 00:51 | Now, again, what's great about
folders is they're reliable and
| | 00:55 | they're predictable, right?
| | 00:57 | We'll only have an image, it will
live in one folder, and that's it.
| | 01:01 | Yet, this gets a little bit limiting,
especially when it comes to managing
| | 01:06 | photographs and video files, and
that's really where Collections come in.
| | 01:11 | You know Collections can give us the ability
to do things that folders just can't.
| | 01:14 | Well, Lightroom came along of course and
introduced this concept of Collections,
| | 01:19 | and in a sense what this did was it
broke the chain, it broke that bond between
| | 01:25 | a physical location.
| | 01:27 | Now, this may seem, again, still a
little bit vague, but stick with me.
| | 01:30 | Let me explain this even further.
| | 01:32 | Let's say that we have an image on one
hard drive and this image is kind of like
| | 01:37 | a couple of other images.
| | 01:38 | And we want to group this image with
those other images, but they all live
| | 01:43 | in separate folders.
| | 01:44 | In other words, we have
images in three separate folders.
| | 01:48 | Well, wouldn't it be nice if there was a way to
group those together in kind of a uber folder?
| | 01:55 | Well, let's take this even further.
| | 01:57 | Let's say that we have images that are
on different hard drives, in different
| | 02:01 | folders, and let's just say for the
sake of an argument that we like to
| | 02:06 | photograph wildlife and
we have pictures of lions.
| | 02:10 | We have a photograph of a lion in one
folder, another folder, another folder,
| | 02:14 | and then when we went on a safari last
year, in a different folder, the previous
| | 02:18 | year, another folder, and another
hard drive, and you get the idea, right?
| | 02:23 | Yet, what we want to do is have a way to kind
of have a collection of our lion photographs.
| | 02:30 | We want to somehow group these together
without moving them from their folders,
| | 02:36 | because that folder structuring
system is kind of set and dialed.
| | 02:39 | Well, that's where Collections come into play.
| | 02:43 | In a sense, Collections are kind of
like this super or uber strong folder.
| | 02:49 | You'll hear people say in the Lightroom
community that Collections, well, they are king.
| | 02:54 | Now, why is that?
| | 02:55 | Well, in a sense what Collections allow
us to do is they allow us to group or to
| | 03:01 | organize images or video files in a
way that is not contingent, that isn't
| | 03:07 | dependent on file or
folder structure or location.
| | 03:12 | In other words, we can group things in a
just completely different way, and what
| | 03:16 | this allows us to do is just to have
a lot of flexibility when it comes to
| | 03:21 | managing and organizing our assets.
| | 03:24 | Now, you may be thinking, okay, well,
this sounds good, but I don't quite get it.
| | 03:28 | Well, I don't think you can quite get
Collections until you actually start
| | 03:31 | to see how they work.
| | 03:33 | So let's go ahead and take a look at how
we can work with Collections, and let's
| | 03:37 | do that in the next movie.
| | Collapse this transcript |
| Working with collections| 00:00 | All of this talk about collections
can get a little bit confusing, so
| | 00:03 | let's break it down.
| | 00:05 | Well here, I am working from this
Melissa folder and we've talked about
| | 00:08 | previously how you can select images,
click and then Shift+click and add those
| | 00:13 | to the Quick Collection.
| | 00:14 | Let's go ahead and do that because we
have done that before just so we have this
| | 00:18 | quick collection of photographs.
| | 00:20 | Well, a lot of times what you
want to do is once you have a Quick
| | 00:23 | Collection, you probably want to
create a real collection or a normal
| | 00:27 | collection out of that.
| | 00:29 | The reason is because this
Quick Collection, you'll lose it.
| | 00:32 | There isn't any built-in memory here.
| | 00:34 | So let's scroll down to our Collections
panel and out of these images, these six
| | 00:40 | photographs, let's create a collection.
| | 00:42 | So here what I am going to do is go
ahead and click on the Plus (+) icon and we
| | 00:46 | have a few options, Create Collection,
Smart Collection, Collection Set.
| | 00:50 | Let's start at the top and
let's create a collection.
| | 00:54 | Here what I am going to do is name
this as "Train Bridge" because all of these
| | 00:57 | pictures were captured on a train bridge.
| | 00:59 | We'll just place this at the top level
for now, we'll change it later, but for
| | 01:03 | now let's leave it there.
| | 01:05 | I want to clear these selected photos.
| | 01:07 | Go ahead and click Create and you'll
see in the Collection panel that you now
| | 01:11 | have these six train bridge photographs.
| | 01:14 | Now what's great about this is
these pictures, they live in this little
| | 01:18 | collection. And in a sense, it's
virtual, it doesn't really exist.
| | 01:23 | It's not like a real folder, you're
not going to see this on your hard drive.
| | 01:27 | You're only going to see
this inside of Lightroom.
| | 01:29 | It's part of this
Lightroom catalog, the database.
| | 01:33 | Let's say that we look at these pictures
and we zoom in on one of them like this
| | 01:36 | one here and realize, you know what, this
one doesn't really show the train bridge.
| | 01:40 | So I want to remove it from the collection.
| | 01:42 | Well, removing an image from a
collection is actually really simple.
| | 01:47 | All that you do is press the Delete or
the Backspace key, and voila! It's gone.
| | 01:52 | You now notice in our Train Bridge
collection we have five photographs.
| | 01:56 | Well, over here in the Melissa
folder, we still have all six.
| | 02:00 | It didn't delete the file off the hard drive;
| | 02:04 | it just removed it from this kind
of grouping, from this collection.
| | 02:08 | Let's say, how can we add
more pictures to this collection.
| | 02:12 | I'll go ahead and click on this Jeff folder.
| | 02:16 | Notice in here that I have some of the
same train bridge captured, I want to add
| | 02:20 | these to my collection.
| | 02:22 | Well, to do that we can simply drag and
drop, it's really nice and easy, and we
| | 02:27 | can add pictures to this collection.
| | 02:29 | I'll just add a few here so
we can see how this works.
| | 02:32 | And then, I am going to go ahead and
click on the Train Bridge collection and
| | 02:37 | I'll take this to the Grid View by
clicking on the Grid icon and here you can
| | 02:42 | see now in this collection I have all of these
eight photographs here inside of the collection.
| | 02:47 | And so this collection, what it did
was, it allowed me to organize or group
| | 02:52 | images in a way that wasn't
dependent on file or folder location.
| | 02:57 | It didn't move the images;
| | 02:59 | it just created this nice little
grouping of them which I can then access inside
| | 03:03 | of this Collections Panel. All right!
| | 03:05 | Well, as far as a first glance at
collections, I think this is pretty good.
| | 03:10 | There's obviously more to talk
about in regards to collections.
| | 03:13 | So let's continue our conversation and
continue to talk about collections right
| | 03:17 | where we're leaving off here and
let's do that in the next movie.
| | Collapse this transcript |
| Going further with collections| 00:00 | Here we're going to pick up where we left
off and continue to talk about collections.
| | 00:04 | Well, so far we've looked at how we can
navigate to different folders say, and
| | 00:08 | find an image and then to add that
image to the collection, drag-and-drop.
| | 00:10 | There has to be a better way, right?
| | 00:14 | All of this dragging-and-dropping is going
to get a little bit tedious and monotonous.
| | 00:19 | Well, there is a great shortcut
technique that you can use in order to add
| | 00:22 | pictures to collections.
| | 00:23 | Here's how it works.
| | 00:25 | You target the collection by clicking
on it and then right-click or Ctrl+Click.
| | 00:30 | And when you do that, you'll see a
contextual menu and you can set this as
| | 00:34 | the target collection.
| | 00:35 | You'll see a little Plus (+) icon which
will show you which collection is targeted.
| | 00:39 | Next, navigate to your image library.
| | 00:42 | Here I'll go ahead and just choose this
folder and then navigate to a new image
| | 00:46 | like this one here, and then press the
shortcut key, the B key, in order to add
| | 00:51 | that photograph to the collection.
| | 00:53 | And you can do this in any view, I can
be in the Loupe view, press the B key.
| | 00:57 | That image is now added to
the collection. All right!
| | 01:00 | Well, so far, so good.
| | 01:01 | We're learning how to work with collections.
| | 01:03 | Well, how to take this even up a notch in
regards to kind of the structure of collections?
| | 01:08 | Well, so far all of these images in
this collection, they really are portraits.
| | 01:13 | And what I want to do is create a set,
kind of like almost if it were a file
| | 01:17 | cabinet, a big file drawer, and inside
of that I would have subfolders of these
| | 01:21 | different sets of images.
| | 01:23 | Well, how could I do that?
| | 01:24 | Well, what you do is you click on the Plus
(+) icon and choose Create a Collection Set.
| | 01:30 | Here I'm going to name
this collection set "Portraits."
| | 01:33 | Next, I want this to be just
next to the collection Train Bridge.
| | 01:36 | I want it to be on the upper
level here and I'll click Create.
| | 01:39 | Well, now there aren't any files in this.
| | 01:43 | In order to add a collection to this,
well, simply click on it and then
| | 01:46 | click-and-drag in order to
bring that into this collection set.
| | 01:50 | If you already have a collection set, what
you can do is, go back to your image library.
| | 01:54 | Say for example, I'll go here.
| | 01:56 | Here's another portrait.
| | 01:57 | I want to add this to the portrait collection.
| | 02:01 | In order to do that, just click on the Plus
(+) icon and here I'll create a collection.
| | 02:06 | This time I'm going to name this one
Graduation, I want this one to be inside of
| | 02:10 | the set Portraits, include
this photo, and then hit Create.
| | 02:15 | So here you can see I now have two
collections inside of this main collection set.
| | 02:20 | What's interesting about this is, you
can view the images just in that one
| | 02:24 | collection, or if you click up top,
you can see all of the pictures.
| | 02:29 | In order to illustrate this, let's go to
the Grid view and I'll zoom out a little bit.
| | 02:34 | Here you can see we have all of
the pictures from both of these
| | 02:37 | different collection sets.
| | 02:39 | So as you can imagine, collections
and collection sets give you this new
| | 02:43 | ability to organize your images and
video files in a way that isn't dependent
| | 02:48 | on file or folder location.
| | 02:50 | What's great about this is you can
have collections or collection sets which
| | 02:54 | are really specific, may be based on topic
or type of photography or based on output.
| | 03:00 | You could have a collection which is
all about prints, and then you could add
| | 03:04 | images that you need to print or you could
create other types of collections as well.
| | 03:09 | And as you move through the different
modules, you'll see that collections will
| | 03:13 | be really valuable in different ways as well.
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| An evaluative-collection workflow| 00:00 | Now that we have a good working and
understanding of collections, what I want to
| | 00:03 | do here is discuss how we can use
collections in order to evaluate and review
| | 00:08 | our photographs. In a sense, kind of go
through a little bit of a photographic
| | 00:12 | workflow and using collections in
order to find or to evaluate the pictures.
| | 00:17 | The photographs we'll be working on you
can find in our Exercise Files folder,
| | 00:21 | Photos and then Narrative Photography and Jared.
| | 00:24 | I'm going to go ahead and
add these all to a collection.
| | 00:27 | So let's click on the first image,
hold down the Shift key then click on the
| | 00:31 | last image, and in the Collections
panel let's create our collection.
| | 00:35 | Here we'll go ahead and click Create Collection.
| | 00:37 | I'm going to just name these "JM-R1."
| | 00:41 | So this is standing for Jared Mason the
person who's been photographed in round 1.
| | 00:46 | I want to include these
selected photos and then click Create.
| | 00:50 | Well, over here in the Collections
panel you can see now all of those images
| | 00:53 | were added to this collection.
| | 00:55 | Now, this is really typical to what I do
when I first start to review a photo shoot.
| | 01:00 | I take all the images I think are
somewhat usable and I put them in what's
| | 01:04 | called a round 1 folder.
| | 01:06 | Of course, I probably want to include
this in some sort of a collection set.
| | 01:11 | So, I'm going to go ahead and create a
Collection Set and the Collection Set I'm
| | 01:14 | going to name here is just "Shoot-NY" (New York).
| | 01:16 | I want this to be at the main level, so
I'll click Create, and then I'm going to
| | 01:23 | drag this collection into it.
| | 01:25 | So, this would be a way to organize say
all of the photo shoots I've done in New
| | 01:29 | York City or something like that.
| | 01:31 | Next, what you can do is you can
start to kind of elevate the photographs
| | 01:36 | that you like best.
| | 01:37 | Let's take a look at these.
| | 01:39 | So, here I'm going to double-click
this one to zoom-in and then just use my
| | 01:42 | Arrow keys to kind of
scroll through the pictures.
| | 01:45 | A lot of times what you try to do is
just get familiar with your photographs.
| | 01:49 | You're just kind of looking at them and
saying, okay, well, what pictures do I like here?
| | 01:53 | Well, now that I've looked at them
I would then go back a second time.
| | 01:58 | Now, let's start to add some sort of a rating.
| | 02:00 | One star for this one, maybe one here,
one there, this one two, two as well, and
| | 02:07 | then a couple of more two stars for a
few of these pictures, again either two or
| | 02:11 | one star based on how I like the picture.
| | 02:14 | Well, now that I've done that I
want a filter based on the star rating.
| | 02:19 | We've done this before, right?
| | 02:21 | So here what we can do is we could
turn on the filtering and say, well, just
| | 02:24 | show me the two star images.
| | 02:27 | Okay, well, I now have this
set of two-star photographs.
| | 02:30 | I'm going to select all of those.
| | 02:32 | Click and then Shift+Click.
| | 02:35 | You could do this in the filmstrip
or you could do it in the Grid view.
| | 02:39 | Now that I have these selects here, the
ones that I like more than the others,
| | 02:43 | I'm going to create another collection.
| | 02:45 | Click on the Plus (+) icon, create a
collection, I'll call this one "JM-R2" for round 2.
| | 02:52 | I want this one to be inside of a
collection set just the "Shoot-NY" (New York)
| | 02:57 | there and I'll include the
selected photos and click Create.
| | 03:01 | So now I have this kind of
criteria, right? I have round 1;
| | 03:04 | just the first images that I think are
good, round 2 the images that I think are
| | 03:09 | a little bit better, and you can see
how you could continue with this, right?
| | 03:13 | Within this photo-shoot so to speak
you could have these different groupings
| | 03:18 | of the photographs.
| | 03:19 | Now the nice thing about this is that
you don't have to always turn on or off
| | 03:24 | the filtering, you can just simply
look, click in a folder and say, hey,
| | 03:28 | here's my round 2, here's my round 1
and then here're other collections I have
| | 03:32 | as well from this set.
| | 03:34 | For example, in almost all photo-shoots I'll
have a collection which is going to be prints.
| | 03:39 | Which photographs do I want to print?
| | 03:41 | Well here I might select a couple.
| | 03:43 | Let's say I want to print these two pictures.
| | 03:45 | I would then go to my
Collection panel, create a collection.
| | 03:49 | I want this inside of that NY (New York)
one, I'll just name this out "Print" and
| | 03:54 | I'll include those selected photographs.
| | 03:56 | So you can see that we have a little
bit of the structure, and if you can
| | 04:00 | create a structure, which you can then
replicate on every photo-shoot, it can
| | 04:05 | be just immensely helpful.
| | 04:08 | You can kind of imagine this, right?
| | 04:09 | Because what you can then do is you can
then go to your Collections and you can
| | 04:14 | simply click through them in order to
find the good images or to find the images
| | 04:17 | you need to deliver to the client or
in order to kind of look for photographs
| | 04:22 | that you may want to include in your portfolio.
| | 04:24 | It gives you this kind of built-in
way in order to organize your pictures.
| | 04:29 | So what a lot of Lightroom users do
is they use Collections, one to kind of
| | 04:33 | group photographs perhaps based
on subject like we did up here.
| | 04:37 | They also will group their photographs
in other ways, maybe to evaluate them or
| | 04:42 | to find the keepers, to find
those photographs which work best.
| | 04:45 | And then the thing that you want to keep
in mind here is I'm just trying to give
| | 04:48 | you a few ideas what you'll want
to do, is come up with a way to use
| | 04:52 | Collections, which really maximizes the
way that you work and that helps you get
| | 04:57 | the most out of your own photographic workflow.
| | Collapse this transcript |
|
|
10. Managing Images with the Map ModuleOverviewing the new Map module| 00:00 | So far we have been taking some time to
explore how we can manage and work with
| | 00:03 | our files in the Library module,
whether that's working with folders or
| | 00:07 | collections are sorting or filtering.
| | 00:10 | Well here what we are going to do is
continue to talk about how we can manage
| | 00:13 | our files, yet we are going
to leave the Library module.
| | 00:16 | We are going to head over to the Map module.
| | 00:18 | In order to navigate to the Map module,
go ahead and click on the Map button,
| | 00:22 | you can find it in the
module picker up top here.
| | 00:25 | Now what the Map module allows us
to do is to organize and access our
| | 00:30 | photographs in a really fascinating way.
| | 00:33 | For starters, you'll notice there are
panels on the left and the right and then
| | 00:37 | the map in the middle.
| | 00:38 | Now that map looks a lot like a
Google Map, right and indeed it is.
| | 00:42 | You also notice that there is a little marker.
| | 00:45 | Now that marker is telling me something.
| | 00:48 | It's telling me that I have a
photograph in my Photo Library that has some
| | 00:52 | embedded GPS information inside of it.
| | 00:56 | This particular photograph came from my iPhone.
| | 00:58 | I simply turned on Location Services and
it embedded all of that GPS information.
| | 01:04 | So by default the Map module can
actually pick up where that photograph was
| | 01:08 | captured and you can see that we can
click on this marker here and it will then
| | 01:12 | show us that picture, it will
also highlight that in the Filmstrip.
| | 01:16 | Now we could zoom in a little bit on this area.
| | 01:18 | We can do that a few different ways.
| | 01:19 | On the map we could simply double-
click in order to zoom in a little bit more
| | 01:23 | closely to that area.
| | 01:25 | We can also change the view of the map.
| | 01:27 | If you go down to the Toolbar, you'll
notice you have a few different Map Styles.
| | 01:32 | Let's take this to Road Map say, or for
example we could go to Terrain or to any
| | 01:37 | of the other types of views here.
| | 01:39 | What's great about these different views is
you can also access them by way of shortcut.
| | 01:45 | On a Windows computer you hold down Ctrl, on
Mac that's Command and then 1-6.
| | 01:51 | And again, as you press those keys,
Command or Ctrl 1, 2, 3, 4, 5 or 6, you can
| | 01:56 | then change those different views.
| | 01:58 | You can of course, always simply make
a selection from here in the Map Style.
| | 02:03 | Now what we can do with this is kind
of fascinating is, we can have these
| | 02:06 | pictures which were captured that have
this embedded information inside of it
| | 02:11 | and then it will then show up on our map.
| | 02:13 | But of course, not all of our cameras
are able to capture photographs and embed
| | 02:18 | the GPS information inside of the images;
| | 02:21 | therefore of course there will be those
situations where we may want to add our
| | 02:25 | photographs to specific locations.
| | 02:27 | Well, let's take a look at how we
can do just that in the next movie.
| | Collapse this transcript |
| Tagging images with locations| 00:00 | Here we're going to take a look at
how we can add one or more images to
| | 00:03 | particular locations in the Map module.
| | 00:06 | Well, what you want to do first is either
select a folder or a collection of photographs.
| | 00:11 | In this case, I've
navigated to this Travel folder.
| | 00:14 | Next, what you want to do is
make your way to the Map module;
| | 00:17 | you can do that by simply clicking on
the Map button in the module picker.
| | 00:22 | Next, you want to start
to search for a location.
| | 00:24 | Well, the first picture in this set it
was captured in Santa Barbara, so I am
| | 00:28 | going to go ahead and do a
search for Santa Barbara, California.
| | 00:32 | Next, this will take me to this area and
what I need to do is to drop this image
| | 00:37 | exactly where it was
captured which was right there.
| | 00:40 | Well, I also have another image which
was captured just up the coast, so while I
| | 00:44 | am here let me go ahead and drag and
drop this picture to this area here.
| | 00:49 | Well, now you can see I have these two
little markers. I am going to go ahead
| | 00:53 | and zoom out, so we can see those two markers.
| | 00:56 | What we can do is then filter.
| | 00:58 | Here I am going to filter based on
showing me the files that are just visible on
| | 01:01 | the map, just these two here.
| | 01:04 | We can also say, let's go ahead and turn
this filtering off just show me all the
| | 01:08 | photographs in this collection
or folder, whatever I've chosen.
| | 01:12 | Now what's great about this is you can
click on these markers in order to open
| | 01:16 | up a few of your photograph.
| | 01:18 | Here, we can see this first picture
and now we can see this other one.
| | 01:21 | Well, what about those situations
perhaps where you have more pictures.
| | 01:26 | Well, I have a bunch of photographs
that I captured in Sayulita, Mexico.
| | 01:29 | I am going to go ahead and do a
search for that town. All right!
| | 01:32 | It's going to take me down south
to Sayulita, a great little village
| | 01:38 | here, wonderful town.
| | 01:39 | I want to click on one of the images in the set.
| | 01:42 | Hold down the Shift key, click on the
last one, I have a whole group of images,
| | 01:45 | same thing, right. Simply drag and drop,
because all of these photographs were
| | 01:49 | captured here in this town.
| | 01:51 | And what's neat about this is we can
click on this and now because we have
| | 01:54 | more than one we can scroll through
these simply by clicking these Previous
| | 01:58 | and Next buttons and it'll show us all of
these pictures which were captured in that area.
| | 02:03 | Now what's great about this is these
are now tagged with this particular
| | 02:07 | location and if ever you need to go to
a new location, let's say, for example,
| | 02:12 | we go to the Map module and we're
looking at Sayulita, Mexico, but really we
| | 02:17 | want to go back to Santa Barbara.
| | 02:19 | Well, all that we need to do is to
click on one of those images that was
| | 02:22 | captured or tagged in a different location
and it'll automatically take us to that spot.
| | 02:28 | So, as you can see this Map module gives
us this really fascinating way to start
| | 02:33 | to group or to organize our photographs.
| | 02:36 | Now the relevance of this type of
organizational layer is going to be dependent
| | 02:40 | upon what you photograph
and how you photograph it.
| | 02:44 | You know, for some of us, this is going to be
really, really, helpful, perhaps we can
| | 02:48 | remember that particular location like
with the shot where we captured that sunrise.
| | 02:53 | It was right there on that beach,
just right about here. And then I could
| | 02:58 | revisit that and I could
capture other pictures here as well.
| | 03:01 | It could be a way to kind of have a
grouping of photographs captured in one spot.
| | 03:05 | Or maybe you're an action sports
photographer and there's one place that you
| | 03:10 | tend to shoot at a lot, well then
you could look at all the photographs
| | 03:13 | captured in that one area, in that
one ski resort or whatever it is.
| | 03:17 | So, what you'll have to do is start
to get a little bit creative with this.
| | 03:21 | Think about, how might this be
helpful to me to start to organize where my
| | 03:26 | photographs have been captured, and
then you can start to add your pictures to
| | 03:30 | those spots and it's really
quite simple as you can see here.
| | 03:34 | Well, there is just a little bit more to
talk about in regards to the Map module
| | 03:38 | and this has to do with saving and
adding locations and let's go ahead and talk
| | 03:42 | about that in the next
movie, I'll catch you there.
| | Collapse this transcript |
| Creating saved locations| 00:00 | Here we're going to take a look at how
we can use the Map module in order to
| | 00:03 | save locations and also how we can
work with metadata in order to find and
| | 00:07 | access our photographs.
| | 00:09 | Well, for starters, let's select a folder.
| | 00:11 | The folder I'll be working from
initially is inside of Exercise
| | 00:15 | Files > Photos > Narrative_
Photography and it's called "Jared."
| | 00:19 | These particular pictures were captured
on a really exciting course I created at
| | 00:22 | Lynda.com called Narrative Photography
or a course I was really excited about.
| | 00:26 | These photographs were
captured on the Brooklyn Bridge.
| | 00:28 | I want to add them to that location.
| | 00:32 | So let's navigate to the Map module.
| | 00:34 | In the Map module, the first thing I
want to do is do a search for that location.
| | 00:38 | I'll go ahead and type out Brooklyn Bridge, NY.
| | 00:40 | This will then zoom into this spot.
| | 00:44 | Well, the next thing that we need to do is
to create what's called a Saved Location.
| | 00:49 | To do that, you can click on this Plus
(+) icon in the panel on the left, the
| | 00:54 | Save Location panel to create the spot.
| | 00:56 | I am going to go ahead and type out
Brooklyn Bridge, and then click Create.
| | 01:00 | Well, now you may notice
I have a problem, right?
| | 01:03 | This is much too big.
| | 01:04 | Well, to change the size, you just
drag this little icon here to make it
| | 01:08 | smaller, and then click on the
middle point and you can reposition that.
| | 01:13 | Let's zoom in a little bit here, and
let's change this to say a Map view, so we
| | 01:17 | have a little bit brighter view of this area.
| | 01:20 | Next to add the photographs to this spot,
| | 01:23 | well, all that you need to do is to
make a selection, and drag and drop.
| | 01:27 | Click on this first image and
then Shift+Click on the third.
| | 01:31 | These pictures were captured right about here.
| | 01:34 | Then, click on another image, Shift+
Click on the last one of this set.
| | 01:38 | All those pictures were
captured right over here.
| | 01:41 | And then click on these last two photos
here, holding down the Shift key while
| | 01:45 | you do that, and add them to
this side, where they were captured.
| | 01:48 | So now all of these photographs
are now within this Saved Location.
| | 01:54 | Well, if I change the Save Location,
let's say I make it much smaller, well, now
| | 01:58 | I only have three pictures included in it.
| | 02:00 | If I make it bigger, well, then it
goes back to having all 11 inside of that
| | 02:05 | saved spot, and that's really handy,
right, how you change the Saved Location
| | 02:10 | determines which photographs and which
spots are inside of that Saved Location.
| | 02:15 | Let's add another Saved Location just
so we can see how this whole thing works,
| | 02:19 | because really you need to have more
than one spot to take advantage of this.
| | 02:23 | So let's go back to the Library module.
| | 02:25 | We'll click on a folder, Travel.
| | 02:27 | Inside of the Travel folder, there
are a couple of images that I took on
| | 02:31 | a backpacking trip.
| | 02:32 | So what we'll do is we'll go to the Map
module and in the Map module we'll do a
| | 02:37 | search for the Location.
| | 02:38 | It was Independence, CA, and it was just
up in Onion Valley here, and I am going
| | 02:45 | to go ahead and navigate to this spot.
| | 02:47 | This time I am going to take this to a
Terrain View so I can kind of remember
| | 02:50 | where it was that these
images were captured. All right!
| | 02:53 | Great!
| | 02:54 | Next, I'll click to add a Location and
name this Onion Valley, and then click Create.
| | 03:00 | Once again I may want to modify the size
of this in order to get this right, and
| | 03:06 | then I'll click and drag and add a
couple of photographs here to where they were
| | 03:10 | captured, it's actually right there,
and now I have those two pictures.
| | 03:15 | What's great about this is I have this
location, I have all of these photographs.
| | 03:20 | Now, let's go back to the Library module.
| | 03:23 | Let's say we're back in the Library
module, we're looking at all of our
| | 03:26 | photographs, and we want to
return to one of those Saved Locations.
| | 03:30 | How can we do that?
| | 03:31 | Well, there are a couple of
different methods we can use.
| | 03:34 | One is to use Library Filtering.
| | 03:36 | And here's where you're going to see
that the Map module and the Library module,
| | 03:40 | well, they're really interconnected.
| | 03:42 | If I go to the Metadata button here,
I can filter based on some interesting
| | 03:47 | things like GPS Data.
| | 03:49 | Well, here it's going to show me all of
the files that have coordinates. In this
| | 03:53 | case, all of the pictures which
have some sort of map tag on them.
| | 03:57 | Or I could go to a specific Map Location.
| | 04:00 | Here are the different Map Locations I have.
| | 04:03 | I want to see what photographs were
captured in Onion Valley or in the Brooklyn Bridge.
| | 04:07 | So I can access those images that way.
| | 04:09 | Another thing that I can do is I can go
ahead and navigate back to the Map Mmodule.
| | 04:14 | Now, in the Map module what you can do
is you can select a particular location
| | 04:18 | and click on the little
arrow to jump to that spot.
| | 04:21 | Well, here it's going to show me all of
those files that are in this particular
| | 04:25 | spot, and I can get
access to them really quickly.
| | 04:29 | Another way that I can do this is by
taking advantage of the Metadata panel
| | 04:35 | inside of the Map module.
| | 04:37 | Let's take a look at that.
| | 04:38 | Back to the Library module for
a second. Let's show everything.
| | 04:42 | Now, back to the Map.
| | 04:44 | Well, in the Map module, you may notice I have
one image which is highlighted or targeted here.
| | 04:50 | Well, I can go to this GPS Code in the
Metadata panel and I can click on this
| | 04:55 | button, and it will then take me to that
location where that image was captured.
| | 05:00 | Now, the same thing would be true is if
we go to that location for Onion Valley.
| | 05:04 | Let's see if I can find that.
| | 05:05 | I am going to have to scroll one way
or another in order to get back to that.
| | 05:08 | Sorry about all that scrolling there.
| | 05:10 | I am going to click on this image, and
it's going to show me the GPS Data right
| | 05:14 | there and, again, if I click on that,
it will then take me to those particular
| | 05:18 | photographs which were
captured in that location.
| | 05:21 | Now, in the Map module it's pretty
dynamic. As I select the image, it
| | 05:24 | navigates to a new location.
| | 05:26 | Yet, we also have this Metadata
over here in the Library module.
| | 05:30 | We'll go ahead and open up Metadata and
then if we scroll down, you can see that
| | 05:34 | GPS tag right there, I'll click on that,
that will then jump to the Map module
| | 05:40 | and show me those photographs.
| | 05:42 | So again, what I'm trying to
illustrate here is that the Map module, well, it
| | 05:46 | just gives us another way to
organize and access our photographs.
| | 05:50 | And so what you'll have to do is get a
little bit creative and ask yourself,
| | 05:54 | well, how could I use this?
| | 05:55 | How could I save particular locations?
And how could that help me as I look
| | 05:59 | to improve the way that I organize, access,
and work with my files inside of Lightroom?
| | Collapse this transcript |
|
|
11. Processing Images in the Library ModuleUsing Quick Develop| 00:00 | Here we're going to take a look at how
we can work with the Quick Develop panel
| | 00:03 | inside of the Library module.
| | 00:05 | We'll be working with this
folder of images, it's titled "Wedding."
| | 00:09 | We've five images in it.
| | 00:10 | These were all captured in a Canon 5D
Mark II and they just came straight from
| | 00:15 | the camera, they're RAW files, and
let's take a look at how we can use Quick
| | 00:18 | Develop to maybe improve
them or change them creatively.
| | 00:22 | You can open up the Quick
Develop panel over here on the right.
| | 00:25 | And one of the first things
you'll notice is you have Presets.
| | 00:28 | I'm going to skip those Presets
for now, we'll come back to them.
| | 00:32 | Let's go back to the specific controls
so we can either enhance or correct the
| | 00:36 | pictures, starting off with White Balance.
| | 00:38 | If we expand this, you'll notice
you have some White Balance controls.
| | 00:42 | You can either use Presets.
| | 00:44 | Let's say we really want to warm the
image up, well, we could choose Cloudy.
| | 00:47 | You can see it now has
much more of a yellow tone.
| | 00:50 | Or we could choose other options
depending on the light under which a particular
| | 00:54 | photograph was captured.
| | 00:56 | Now, if ever you make a change like
this and you want to reset it, with
| | 01:00 | White Balance it's easy.
| | 01:01 | Just go back to As Shot and it will take it
back to the original settings. All right!
| | 01:05 | Well, what about Temperature and Tint?
| | 01:07 | Well, these allow you to
make more specific adjustments.
| | 01:11 | You'll notice there are two buttons;
| | 01:13 | a one-arrow button and a two-arrow button.
| | 01:15 | Those arrows just determine how
quickly an adjustment is made.
| | 01:19 | If I click on this one, well,
it gets warm really fast.
| | 01:23 | If I click on one of these buttons, well,
it's going to slowly change, more incremental.
| | 01:27 | With Temperature to the left is
Cool, and to the right is Warm.
| | 01:32 | Now, if you've made a change here
and you really want to reset it, a really
| | 01:36 | easy way to do that is to go to Reset All, and
it will take everything kind of back to normal.
| | 01:41 | What about Tint?
| | 01:42 | Well, Tint, it will either make the
image more magenta, you can see here, or we
| | 01:46 | can go the other way, it's
going to be a little bit more green.
| | 01:49 | And we can customize this in order to
get correct Color Temperature, or in order
| | 01:54 | to make a creative adjustment
to a photograph. All right!
| | 01:56 | Well, let's reset this and
just take this back to Normal.
| | 02:01 | Again, we're just trying to deconstruct
some of these controls here first, and
| | 02:04 | then we'll look at how we can actually use them.
| | 02:07 | In the Tone Control, we
have an Auto Tone button.
| | 02:11 | Now, this button won't always work.
| | 02:14 | You know, Auto Tone doesn't always nail it, here it is.
| | 02:17 | It brought in a lot of nice detail, but I miss
kind of some of the brightness of the photograph.
| | 02:23 | So in this case Auto Tone perhaps isn't
the best option, although in some images
| | 02:27 | Auto Tone will be great.
| | 02:29 | Here I am going to reset that back to Normal.
| | 02:31 | Here we have Exposure.
| | 02:33 | You already know how these buttons work, right?
| | 02:34 | To the right it's going to get brighter;
| | 02:36 | to the left it's going to get darker.
| | 02:38 | So we can modify Exposure.
| | 02:40 | We can also do this with
smaller increments here.
| | 02:43 | Then we can add Clarity,
which is midtone contrast.
| | 02:45 | We could also add a touch of Vibrance,
which would allow us just to brighten up
| | 02:50 | some of the colors here.
| | 02:51 | Now, if you want more precise controls
in regards to Tone Control, you can open
| | 02:56 | up this menu here and
then you'll see everything.
| | 02:58 | We have all of the controls that we
would find in the Develop module, which
| | 03:02 | raises an important question.
| | 03:04 | Well, why use these controls when
they're more awkward, more difficult than
| | 03:08 | the Develop module?
| | 03:09 | Well, exactly. Typically we're not
going to use these controls, because we can
| | 03:15 | just do this so much more
precisely in the Develop module.
| | 03:19 | Yet, there may be times when it will
help you to quickly make some changes and
| | 03:22 | to work with these controls, and
we'll talk about that as we make our way
| | 03:26 | through the next few movies. All right!
| | 03:27 | Well, in his first movie all that I
wanted to do was to introduce you to the
| | 03:32 | Quick Develop controls, and let's
continue our conversation with working with
| | 03:36 | these controls in the next movie.
| | Collapse this transcript |
| Synchronizing settings| 00:00 | One of the reasons why you might want
to use Quick Develop is to apply some
| | 00:03 | settings to one photograph and then
to synchronize, or apply those settings
| | 00:08 | to other photographs.
| | 00:10 | For example, let's say that with this
picture here what we want to do is perhaps
| | 00:13 | just increase the Color Temperature a
little bit. Maybe add a little bit of an
| | 00:17 | Exposure increase and then add
some Clarity and maybe some Vibrance.
| | 00:22 | Well, another thing that we might want to do to an
image is say Sharpen it or add some Saturation.
| | 00:27 | Well there is a great shortcut that you can use
which changes these controls to those settings.
| | 00:33 | Let me show you what I mean.
| | 00:35 | Press Option on a Mac, Alt on Windows
and it changes Clarity to Sharpening and
| | 00:40 | Vibrance to Saturation.
| | 00:42 | Again all you have to do is press Option or Alt.
| | 00:45 | Here then we could sharpen the image a
little bit, and maybe add a touch of Saturation.
| | 00:50 | Okay, well the photograph, it looks
much more vibrant and so what I want to do
| | 00:54 | is I want to apply these vibrant, nice sharp
and clear settings to the other two pictures.
| | 01:00 | In order to do that, we need to select them.
| | 01:02 | Hold down the Command key on a Mac,
Ctrl key on Windows and then click on those
| | 01:08 | other two photographs.
| | 01:09 | Now you have a couple of options.
| | 01:11 | One option is to click on Sync Settings.
| | 01:14 | Now if we that we click on
Sync Settings, it will open up our
| | 01:17 | Synchronize Settings dialog.
| | 01:19 | Here we can choose Check All.
| | 01:20 | We want to apply all the settings which were
applied to the first image to the rest of them.
| | 01:25 | Here we will click Synchronize and it will
apply those settings to those other photographs.
| | 01:29 | If we use our Arrow keys to scroll them,
you can see how these images now have a
| | 01:34 | little bit more of that look and feel.
| | 01:36 | Well it's kind of difficult to really see the
change because the changes I made was subtle.
| | 01:42 | Let's make a change which is a little
bit more dramatic and let's take a look at
| | 01:46 | how we can synchronize settings
in a couple of different ways.
| | 01:50 | Well, in my opinion, if I'm going to
synchronize, it's kind and nice to see one
| | 01:54 | or two or three of the other photographs.
| | 01:57 | One way to do that is to
take your View Mode to Survey.
| | 02:01 | You can access Survey by pressing the N
key or by clicking on this icon here and
| | 02:07 | then next let's go ahead and collapse
the left hand panel so we have more space
| | 02:11 | for these photographs.
| | 02:12 | Well you will notice that
you have an Auto Sync button.
| | 02:15 | There is a flip switch.
| | 02:17 | If you flip that on then you can make
an adjustment which is subtle or dramatic
| | 02:22 | and it will be applied to all of these images.
| | 02:24 | Let's use a preset just to illustrate this.
| | 02:27 | I am going to go to my B&W Filter
Presets > Red Filter. There you have it, we
| | 02:32 | are converting the black-and-white and
you can see again it's applied to all
| | 02:36 | of these photographs.
| | 02:37 | In this case, I need some more contrast right.
| | 02:40 | We need to open up our controls here,
boost up the Contrast and maybe bring down
| | 02:45 | our Shadows a little bit so we
have a little more darker tones there.
| | 02:49 | I am just clicking on these
sliders to try to customize this
| | 02:52 | black-and-white adjustment.
| | 02:54 | So as you can see with Auto Sync
turned on, we can apply a preset or we can
| | 02:58 | apply specific controls in order to
make changes to those other photographs.
| | 03:03 | Now keep in mind, you could do
this with one or more images.
| | 03:07 | You could synchronize two
photographs or you could synchronize 200.
| | Collapse this transcript |
| Making incremental adjustments| 00:00 | In regards to Quick Develop, this is
the movie that's going to make all the
| | 00:03 | difference in the world.
| | 00:04 | And the reality is that for most of
our image, adjustments, enhancements, or
| | 00:08 | corrections, we're going to
go to Develop module, right?
| | 00:11 | Yet there are going to be situations
where Quick Develop is really going to save
| | 00:15 | the day, and that's what we're
going to take a look at here.
| | 00:18 | It has to do with making
incremental adjustments.
| | 00:21 | Now in order to illustrate how this
works what I need to do is to make a
| | 00:25 | few changes that aren't going to be very
good, but are going to illustrate the point.
| | 00:30 | They're going to showcase how this
actually works, they'll help you understand it, so
| | 00:34 | that you can then apply it your own workflow.
| | 00:36 | So, for this first image, what I am
going to do is I am going to go ahead and
| | 00:39 | overexpose to this image dramatically.
| | 00:42 | So I am just overexposing it, again,
dramatically, losing all of this detail
| | 00:46 | right, the image is almost completely gone.
| | 00:49 | The next thing that I am going to do is
I am going to click on the other image
| | 00:53 | which is very similar to it.
| | 00:54 | I'll click on that holding down the
Command key on the Mac, Ctrl key on Windows,
| | 00:59 | and then I am going to go to Survey mode.
| | 01:01 | To access Survey mode, you can
click on this button here or press the
| | 01:04 | shortcut key, the N key.
| | 01:06 | Okay, well I have two images which
were processed and they're very different,
| | 01:11 | one is decent exposure, one is overexposed.
| | 01:13 | Well, when you select multiple images
inside of the Library module and when you
| | 01:19 | work with Quick Develop and have Auto Sync
turned on, if you make a change, it's incremental.
| | 01:26 | Let me show you what it is.
| | 01:28 | I am going to go ahead and click this.
| | 01:29 | Notice that it decreased one image
differently, really, than the other image.
| | 01:35 | And as I make this change, something
interesting is kind of happening. Let's deconstruct it.
| | 01:41 | What Quick Develop does different,
say, than the Develop module, is make
| | 01:45 | incremental adjustments.
| | 01:47 | In other words, it says, wherever this
image is, I am going to then move that,
| | 01:52 | let's say the Exposure down one stop
or a third of a stop or whatever it is.
| | 01:56 | Or I am going to then change the Clarity
based on where the clarity is, up a little bit.
| | 02:01 | In other words, it's incremental.
| | 02:03 | Now in the Develop module when you
synchronize, well, if you change the
| | 02:06 | Exposure, say, to +3, well, all the
exposures of those images goes up the plus three.
| | 02:11 | It isn't incremental, it doesn't pay
attention what the exposure was, it only
| | 02:17 | changes it to a new uniform exposure.
| | 02:20 | Okay, so you may be thinking, all right
Chris, why the heck would that matter,
| | 02:25 | what's the big deal with this?
| | 02:27 | Well, this can really help in those
situations where you have a photo session or
| | 02:32 | a commercial shoot and you're
shooting the entire time and you notice that
| | 02:37 | you're overexposing all of
your images by two stops.
| | 02:41 | Yet, you have change in your
exposure kind of throughout the shoot.
| | 02:44 | Yet each image needs to come down two
stops, because maybe you just made a mistake.
| | 02:50 | Well, what you could do in those
situations is you could then select, say, all of
| | 02:54 | those photographs, and regardless of
what the exposure is, you could then make
| | 02:59 | that adjustment and change that and it
would just knock the exposure, whatever
| | 03:03 | the various exposures were,
down to the appropriate spot.
| | 03:06 | The same thing could be said of
color temperature or of all the other
| | 03:10 | settings that we have here.
| | 03:12 | So in other words, if ever you have
a situation where you just find that
| | 03:16 | what you need to do is to make an
incremental adjustment to each different
| | 03:20 | and distinct image.
| | 03:21 | Well then, Quick Develop
will really be the solution;
| | 03:24 | it will save the day in those scenarios.
| | 03:27 | The other times when you might want to
use Quick Develop is simply when you just
| | 03:30 | want to make a couple of quick
adjustments to photographs and apply those and
| | 03:35 | then move on to something else.
| | 03:37 | Yet again, for the most part, for
most Lightroom users, the Quick Develop,
| | 03:40 | it's not that useful.
| | 03:42 | Really, if you want to process your
photographs, you're going to want to have
| | 03:45 | full control and be able to be really precise.
| | 03:48 | In order to do that, you want to make
those adjustments in the Develop module.
| | Collapse this transcript |
|
|
12. Working with VideoPlaying video in Photoshop Lightroom| 00:00 | One of the things that's really
exciting about the latest version of Lightroom
| | 00:03 | is that it allows us to work with video
in some pretty powerful ways, because as
| | 00:08 | still photographers we are now shooting
still images and capturing video files
| | 00:12 | and we need to have these
as part of our workflow.
| | 00:14 | So speaking of workflow starting off
one of the things that we can do in the
| | 00:17 | Library module is add labels or stars.
| | 00:20 | Here I can add a red label by simply
clicking on one of these buttons or I can
| | 00:24 | add a star rating as well.
| | 00:26 | We can go through the various video
files and add stars or labels or flags, we
| | 00:31 | can also work with metadata as well.
| | 00:33 | Well, currently you can see that these
video files are showing the first frame.
| | 00:38 | Well to get deeper into the video all
that you need to do is to hover over it
| | 00:43 | and then simply scrub to the left
or the right in order to play these.
| | 00:47 | It's kind of a fun way to see the
footage and we can get to where the relevant
| | 00:50 | part of the video file is, so we can
see if this clip is going to be good.
| | 00:54 | And again, you can see here we are
just hovering over these and I'm not
| | 00:58 | clicking, I'm just moving
that mouse one way or another.
| | 01:01 | Now because this playback is kind of
nice and really snappy and quick, what
| | 01:06 | some Lightroom users like to do is to
increase their thumbnail size and then go
| | 01:10 | to the video file and just scrub over it this
way in order to get a little bit of a larger view.
| | 01:16 | Now the problem with this of course
is if you go really big with these.
| | 01:19 | Well sometimes your video preview
is going to be a little bit choppy.
| | 01:23 | You're not going to really
see the quality of the file.
| | 01:27 | So, of course there has to be a
better way, right? Well there is.
| | 01:31 | All that you need to do is to take
your video files to the Loupe View.
| | 01:35 | You can do that by clicking on this
button here or by pressing the E key.
| | 01:39 | Now when we go to the Loupe View all
of a sudden we will see this nice crisp
| | 01:44 | sharp view of the video file,
and we can play this back here.
| | 01:48 | Rather than dragging over this
we now have some play controls.
| | 01:52 | A couple ways we can use these: one, is
we can press the Play button or two, we
| | 01:57 | can drag the playhead needle.
| | 01:59 | Now this particular video piece it
was captured with my Canon 5D Mark II. I
| | 02:03 | just lean it against this pole which was
holding this moving sculpture down at the beach.
| | 02:09 | So this little clip is really about
movement and now I want to see if the
| | 02:12 | movement that I captured is any good.
| | 02:15 | I'm not worried about the
audio just the movement.
| | 02:17 | So I'm going to play this and let's go
ahead and watch it and I'll be quiet,
| | 02:20 | because there is an audio track
here as well. Let's check it out.
| | 02:22 | (clip playing)
| | 02:27 | All right, great! That looks good, it's sharp,
there are some nice details.
| | 02:31 | I can also scrub this if I want
to get to the footage more quickly.
| | 02:34 | Let's take a look at that.
| | 02:36 | To do that you simply click and
drag to the left or the right.
| | 02:39 |
(clip playing)
| | 02:43 | Okay, perfect. Now why this is important is because so
often the good aspect of the footage or
| | 02:50 | the footage that we really want to work
with, well, it's going to come a little
| | 02:53 | bit later, it's not going
to be right in the beginning.
| | 02:56 | Usually when you shoot video, you kind
of have these cushions on the front and
| | 03:01 | also on the back, this footage that
you don't really need, and you can then
| | 03:05 | access the good stuff.
| | 03:06 | This gives you the ability: one, to play
it back, to view it and also, to discover
| | 03:10 | if there is anything good
that you want to work with.
| | 03:13 | And now so far of course, we have just been
talking about how we can view these video clips.
| | 03:18 | Yet what about those situations where you
need to, let's say trim some footage out.
| | 03:23 | For example, let's click on
this clip here, beach1 movie.
| | 03:26 | This is a photograph of my daughters
playing at the beach and there is this
| | 03:30 | segment, right here where Annika,
my oldest daughter catches a wave.
| | 03:36 | Well this is the part of the
clip that I want to work with.
| | 03:39 | I want to cut out that first part,
because I just want to have a couple of clips
| | 03:42 | of her say catching this wave.
| | 03:44 | Well, let's take a look at how we could
trim or modify this video in the next movie.
| | Collapse this transcript |
| Trimming a video| 00:00 | With almost every video clip that we
have, there will be a point where we're
| | 00:03 | going to need to trim it, we are
going to need to cut it down for size.
| | 00:07 | And that's definitely the
case here with this clip.
| | 00:09 | I'm going to go ahead and scrub back
to the beginning for a moment, just so we
| | 00:12 | can watch this and so we can see
what the footag is that we have.
| | 00:17 | (video playing)
| | 00:33 | Alright, so there we saw the clip. It's
a fun moment at the beach with my kid,
| | 00:37 | and my daughter Annie there has
caught a wave on her boogie board.
| | 00:41 | And what I want to do is I want to trim this.
| | 00:43 | So basically, what I like is the point
where she catches the wave to where she
| | 00:47 | really comes up close to me.
| | 00:49 | And I am able to capture a clip like
this because I am using an iPhone and it's
| | 00:53 | just kind of one of these spur
the moment video clips that we have.
| | 00:56 | So let's say that we need to trim it.
| | 00:58 | The way they do that is
to click on this icon here.
| | 01:01 | This will open up this dialog
so that we can see what we have.
| | 01:05 | Now here we can scrub this and it's
kind of get a little bit loud, but let me
| | 01:09 | scrub this a little bit. You can see
these different moments and you can see
| | 01:14 | how it's dividing this video clip up in to
these different pieces, giving me some visual cues.
| | 01:20 | Wouldn't it be nice of course if we
could see a little bit more of the footage?
| | 01:25 | Well you can do that if
you minimize the interface.
| | 01:28 | So if you really want to focus in
on your video work, this might be a
| | 01:31 | great shortcut for you.
| | 01:33 | You press Shift and then Tab, and what
that does is it minimizes the interface.
| | 01:38 | Then we can hover over this little
player here or this component which just
| | 01:42 | gives us the ability to playback.
| | 01:44 | You can see that as I stretch this,
now I have many more keyframes.
| | 01:49 | These keyframes can help me
find how I might want to trim this.
| | 01:53 | Now in order to make the
trim, it's really quite easy.
| | 01:56 | Well here at the beginning, I know
that she catches the wave right about here
| | 02:00 | because I can see that, at least on my
screen. So I can go ahead and click and
| | 02:04 | drag this trim point,
let's say to right about there.
| | 02:08 | Now if you want to make sure it's right,
we will just grab the Play Head needle
| | 02:12 | and go ahead and bring it to the point
where you want to start the action, that
| | 02:16 | looks good right there and then
drag that trim point to that spot.
| | 02:20 | Next, we can do the same thing with our out.
| | 02:27 | Let's say we want to end right
there with that nice big smile.
| | 02:30 | We will go ahead and drag this one over here.
| | 02:33 | So now this video clip is
just made up of these elements.
| | 02:36 | In other words, it was a little
bit longer, it's become shorter.
| | 02:41 | Now in order to bring back the interface,
what you can do is press Shift+Tab one
| | 02:45 | more time, that will
automatically collapse things.
| | 02:49 | Now in this view you can also change
the size of the playback component, right.
| | 02:53 | It's a same thing here.
| | 02:54 | We can go ahead and increase or decrease
this by hovering over the edge and then
| | 02:58 | simply clicking and
dragging this one way or another.
| | 03:01 | I just find that sometimes having a
little bit more space can really be helpful.
| | 03:05 | We can also change the size of our work
area, by changing the size of the Filmstrip.
| | 03:11 | If you hover over the top of the
Filmstrip, you can then click and drag down,
| | 03:15 | that sometimes can open up a little bit
more space for working with that video file.
| | 03:20 | Let's take a look at this with one more clip
just so that we can make sure we have that.
| | 03:25 | Here's another clip of Annie catching a
wave, here we will go ahead and scrub.
| | 03:29 | It really starts right here that's
the good action point, and then it
| | 03:33 | finishes about right here.
| | 03:35 | Let me scrub to that spot. Right about there.
| | 03:43 | And I will go ahead and click
and drag this to that point.
| | 03:46 | So now I have successfully modified
| | 03:48 | both of these frames. They're now a little
bit shorter and they're just focusing in
| | 03:52 | on Annie catching those waves.
| | 03:55 | Keep in mind that this particular
technique is going to work with any type of
| | 03:59 | video format that you can bring into
Lightroom, not just with clips like these.
| | 04:03 | And what this can help us to do is
really get to the core footage which is the
| | 04:08 | footage that we really
want to have and work with.
| | Collapse this transcript |
| Editing the color and tone of a video| 00:00 | Here we're going to take a look at
how we can start to work with color and
| | 00:03 | tone in our video clips,
| | 00:05 | how we can make color and tone
adjustments in corrective or creative ways.
| | 00:09 | One of the first things I want
to do is work with this clip here.
| | 00:12 | It's a video portrait of a famous
and professional surfer Rob Machado.
| | 00:16 | I want to trim this a little bit.
| | 00:18 | We already know how to do that.
| | 00:19 | Click on the Gear icon and the action
that I want to get to starts right here.
| | 00:23 | So I'm going to go ahead and
drag my play needle to that point.
| | 00:27 | Then I will drag my trim point to that
point as well and then I'm going to close
| | 00:31 | this view so I can just work
on this clip here at this point.
| | 00:35 | I'm going to play a little bit of
this clip, it's a little bit noisy but
| | 00:38 | you'll get a gist of it. Here it goes.
| | 00:41 | (clip playing)
| | 00:45 | I'm going to stop it right there.
| | 00:46 | I can see a nice view there, the image
is sharp for this moment. I kind of like
| | 00:50 | the energy of this, it's handheld, it's
just kind of a fun little video portrait
| | 00:54 | of this fascinating person.
| | 00:56 | Well here, one of the things I noticed
is I'm not totally convinced about the
| | 01:00 | color temperature, I may want to change that.
| | 01:03 | Well, one of the ways that you can
modify color temperature is with the
| | 01:07 | Quick Develop controls.
| | 01:08 | That's one of the reasons why I
wanted to show those in a previous chapter.
| | 01:12 | We can take advantage of these
Quick Develop controls in order to make
| | 01:15 | some great changes.
| | 01:17 | Let me show you what we can do here.
| | 01:19 | Well, if you go to the White Balance
area you can expand this, so you have more
| | 01:23 | precise controls to custom
change the color temperature.
| | 01:26 | Well, here I'll go ahead and click a
few times to the left, well, now that's
| | 01:29 | a little bit more neutral and then perhaps
I want to remove a little bit of the red.
| | 01:34 | I'll click a few more times down here.
| | 01:35 | Now that was too much, just to kind of
come up with a new version of this file.
| | 01:40 | Now what's great about this
is, if we play this clip--
| | 01:45 | well that color temperature is applied
to the entirety of the clip not just the
| | 01:49 | moment where we stopped it, right.
| | 01:51 | Now the only trick with this, of
course, is that we can't really see a before
| | 01:55 | and after very easily.
| | 01:57 | We could click Reset All, but then
we would have to reapply our settings,
| | 02:01 | whatever we've applied, so
it's not the best way to work.
| | 02:05 | Well, there has to be a better way, right?
| | 02:07 | Well of course, there is and there is
a better way which involves creating
| | 02:11 | what's called a Virtual Copy.
| | 02:13 | Let me show you how we can
do that. It's really easy.
| | 02:16 | Navigate to the filmstrip and then
right-click or Ctrl+Click and here what I
| | 02:21 | want you to do is to choose Create Virtual Copy.
| | 02:24 | The good news about this is this
won't increase the file size on your hard
| | 02:28 | drive, it's not duplicating the entire
video clip, rather it's just creating a
| | 02:33 | new set of instructions, so we can
have another version of this clip.
| | 02:37 | Well, now here this clip if we scrub
down the line a little bit, we can see it
| | 02:42 | has this nice color temperature.
| | 02:44 | We could then go back to the original,
this one over here and then Reset this one.
| | 02:50 | Now when I reset, it goes back to the
default as it was captured color temperature.
| | 02:54 | Well, now I have the ability to kind
of click between these two and see which
| | 02:58 | one I like better, because you know
the reality of making adjustments is
| | 03:02 | sometimes you make them, but maybe
they are not very good and so it's nice to
| | 03:06 | kind of have the ability to
make these comparisons. All right!
| | 03:09 | Well, what else could we do?
| | 03:11 | Well, let's say we want to create
another Virtual Copy because we want to get a
| | 03:14 | little bit creative here.
| | 03:16 | Well again, right-click or Ctrl+
Click and choose Create Virtual Copy.
| | 03:21 | What could we do with this?
| | 03:21 | Well, let's scrub down the line and
then let's choose perhaps a preset.
| | 03:26 | Here I'll go to these Presets and I
want to choose perhaps a Black & White
| | 03:29 | Preset, maybe an Infrared preset.
| | 03:31 | This is going to be kind of interesting.
| | 03:33 | We'll click OK and then here we can
see what this preset would look like.
| | 03:37 | It doesn't really work. No big deal.
| | 03:39 | We can choose another preset.
| | 03:41 | We could go to Color Preset, we could
try perhaps something like one of these
| | 03:45 | Bleach Bypass looks or an Aged Photograph.
| | 03:48 | And again, this is just going to go
back to that original file and then apply
| | 03:53 | these settings to it.
| | 03:54 | Now this warning message is just saying
you can't do everything that you could
| | 03:58 | do to images to video. That's okay.
| | 04:00 | We'll simply click OK and now we kind
of have this aged look here, a little bit
| | 04:04 | of a different type of aesthetic.
| | 04:06 | We can do something which
is a bit more normal as well.
| | 04:09 | Let's go to B&W and try out the Red
Filter, which tends to work well with people
| | 04:14 | and just see how that looks.
| | 04:15 | Kind of an interesting look!
| | 04:17 | Now, you can take this further of
course by going to Tone Control.
| | 04:21 | In Tone Control we can increase the Exposure a
little bit, maybe a little bit of Contrast here.
| | 04:26 | We could work with our Whites or our
Blacks here making changes to those
| | 04:30 | areas of the picture.
| | 04:31 | And again, the type of changes that we
make really depends on what type of a
| | 04:36 | look we're going for in
regards to our own video file.
| | 04:39 | So, let's go ahead and scrub down
and see that we now have kind of an
| | 04:42 | interesting black-and-white
version of this video clip.
| | 04:46 | And what's fascinating about this is
all of a sudden we have these controls to
| | 04:50 | not only just trim the video
file but even more than that.
| | 04:54 | We can make corrections or enhancements
to the color and tone of our video clips
| | 04:59 | right inside of the Library module.
| | Collapse this transcript |
| Using presets to edit the color and tone of a video| 00:00 | Here we're going to look at another way
that we can use Presets, when looking to
| | 00:03 | change the color and tone of our Video files.
| | 00:07 | You may have noticed that up in the
QuickDevelop pull-down menu for the
| | 00:10 | default settings for our Presets,
we have a group of presets which are
| | 00:14 | dedicated to video.
| | 00:16 | Here we have six different presets.
| | 00:19 | Now what are these and what are these all about?
| | 00:21 | Well if we make a selection of one of
these we won't see that warning dialog
| | 00:25 | which says, hey you know what, this
Preset it use these controls and these
| | 00:29 | controls you can't use them on video.
| | 00:32 | In other words it's stripped away all of that.
| | 00:35 | It only uses controls
that are applicable to video.
| | 00:38 | So in this case it kind of gives us a
little bit more security in regards to
| | 00:41 | knowing how this will actually look and it
just kind of speeds up the overall process.
| | 00:46 | Now what's the downside with these?
| | 00:49 | Well the downside in my opinion, and
why I show these second, is that there are
| | 00:53 | only six. We only have six options.
| | 00:56 | This is a little bit limiting.
| | 00:58 | So I wanted to highlight that we can
use any of these preinstalled presets.
| | 01:02 | We may have mixed or varied results.
| | 01:04 | In other words, we're not going to be
able to use all of that preset to its
| | 01:08 | entirety, just the controls that
are applicable to the video file.
| | 01:12 | We can also use any of our own User Presets,
or presets we've purchased and installed.
| | 01:17 | And then finally we can also
use these Lightroom Video Presets.
| | 01:22 | What you'll want to do is experiment with these.
| | 01:24 | Open up one of your own video files and
try out all of the different presets and
| | 01:29 | see how it affects the look of your video clips.
| | 01:32 | Now once you've decided to apply a
preset you can always undo this, regardless
| | 01:37 | of the type of preset.
| | 01:38 | All that you need to do is to simply
navigate back to this Default Settings
| | 01:42 | option, you can select that and then
it will reset or restore the video clip
| | 01:47 | back to its default settings.
| | Collapse this transcript |
| Setting the poster frame| 00:00 | As I've mentioned previously, so often,
the first frame of a video clip isn't
| | 00:04 | the one which really is a good
representation of the footage.
| | 00:08 | In other words, a lot of times the
good stuff happens a little bit later.
| | 00:11 | Like with this clip here.
| | 00:13 | One of the things that we might want to
do is scrub down to somewhere say around
| | 00:16 | here where the person is
actually looking at the camera.
| | 00:19 | It would be nice if this were the first
frame, the first frame that I saw in the
| | 00:24 | Grid View or in the filmstrip.
| | 00:26 | Well, we can set this to be the first frame
if we choose what's called a Poster Frame.
| | 00:31 | We can do that by clicking on this
icon over here in the playback component.
| | 00:35 | Here, we can choose Set Poster Frame.
| | 00:38 | What this will do is it will then
update this clip, so that the first frame we
| | 00:42 | see in the Filmstrip, let's make that
a little bigger so you can see that, or
| | 00:46 | if we go to the Grid View, that first
frame is going to be the one which is visible.
| | 00:51 | You can see the difference between those other
virtual copies that this now is the first clip.
| | 00:56 | The same thing would be nice
with clips like this as well.
| | 00:59 | Let's go ahead, and click on one of
these, and then let's go back to the Loupe
| | 01:03 | View, and in the Loupe View, what I
want to do is scrub down to where I see a
| | 01:06 | little bit more of my daughter Annie here.
| | 01:09 | So I am going to go to say a point
where she's really visible, and she's up
| | 01:13 | close say like that, she's smiling.
| | 01:15 | I'll go ahead and click on this and
choose to set that as the Poster Frame.
| | 01:19 | Again, this gives me a little bit
better access to the clip because I can
| | 01:23 | actually see her there in that frame.
| | 01:25 | So you can use this feature obviously
in order to change what's visible in
| | 01:30 | those thumbnails, whether you're viewing
those thumbnails in the Grid or in the filmstrip.
| | Collapse this transcript |
| Capturing a still image from a video| 00:00 | Here we're going to take a look at how
we can use the Capture Frame feature in
| | 00:03 | order to capture or remove
still frames from a video clip.
| | 00:07 | This feature is actually pretty
phenomenal because it allows you to work with
| | 00:10 | video in a completely different way.
| | 00:12 | As I mentioned previously, I have this
one clip which is a video portrait of
| | 00:16 | this fascinating surfer Rob Machado.
| | 00:18 | What I'm going to do is scrub down the
line over here till I find a spot where I
| | 00:22 | have what I think could
be a decent portrait shot.
| | 00:24 | Now this particular guy, Rob, like I
said he is fascinating. He was on the
| | 00:28 | cover of one of my most recent books and he
just has an interesting look about who he is.
| | 00:34 | And so let's say that I want
to use this as a still frame.
| | 00:37 | Well here I'm shooting
with the Canon 5D Mark II.
| | 00:40 | The dimensions of this
video clip, they're 1920x1080.
| | 00:44 | That is a lot of
information, a lot of data there.
| | 00:47 | So what I can do is I can capture say this
frame out as a still frame, it's really easy.
| | 00:52 | You click on this icon
here and choose Capture Frame.
| | 00:55 | That frame will then show
up in the Filmstrip below.
| | 00:58 | It will keep the naming convention just
the same as the video clip, and here it
| | 01:02 | is this is rob_portrait.jpg.
| | 01:05 | You'll notice the Dimensions here are
1920x1080 and let's go ahead and zoom in
| | 01:10 | on this, we'll go ahead and zoom into 1:1
and we can see the detail that we have here.
| | 01:15 | Now what's great is whatever detail
we've captured in the video clip is what
| | 01:19 | we're going to get here.
| | 01:20 | This one it was hand-held, shot in a
lowlight scenario, but nonetheless, this
| | 01:24 | would be great for viewing on the Web or
I could even create a small print of this.
| | 01:29 | Let's take a look at some other footage.
| | 01:31 | This footage is a little bit
more clear, a little bit more crisp.
| | 01:35 | Let's find a point with this.
| | 01:36 | I'll go ahead and scrub down to a
point that I think might be kind of cool.
| | 01:40 | And then, same thing. Click on this,
capture that frame and then let's go ahead
| | 01:46 | and navigate to here and look at this at 1:1.
| | 01:48 | Again, we have pretty good detail,
pretty good footage here that was captured
| | 01:52 | straight out of this video clip.
| | 01:54 | What's phenomenal about this is we can
then use this information or use these
| | 01:59 | JPEGs and process them with
all of the rest of Lightroom.
| | 02:03 | We can include this JPEG in the
rest of our Lightroom workflow.
| | 02:06 | Whether that's working on the image in the
Develop module or outputting it in different ways.
| | 02:12 | So what this really does for us is it
expands how we start to work with video.
| | 02:17 | Because you know the trick with video
is this: so many of us shoot video clips
| | 02:21 | but we just don't know what to do with
them because we're still photographers.
| | 02:25 | Well all of a sudden this gives us the
ability to kind of tap into those video
| | 02:29 | files in some really fascinating ways.
| | 02:32 | In other words, let's say with
this short video portrait I created,
| | 02:36 | well I could capture out of this,
let's say three little portraits.
| | 02:40 | They could be kind of interesting right, and I
could then put those together in a small set.
| | 02:45 | Because I have movement, that movement
gave me different types of compositions.
| | 02:50 | So again, I'm just trying to start to
get you to think about this and to think
| | 02:54 | about video in a new way.
| | 02:56 | Perhaps, this will then give you the
ability to capture video files and use
| | 03:00 | those video files in a completely
creative and different way simply by looking
| | 03:04 | at how we can capture frame
inside of the Library module.
| | Collapse this transcript |
| Exporting to a hard drive| 00:00 | After you've imported and possibly
worked on your video files in Lightroom, it's
| | 00:04 | now time to look at how we can export
or publish these files in order to get
| | 00:08 | them out of Lightroom.
| | 00:09 | Let's say with this clip here, I've modified
the color temperature, I've trimmed the clip.
| | 00:14 | I'm now ready to get it out of
Lightroom. How can I do that?
| | 00:17 | Well one technique that you can use is
to go to your File pull-down menu and
| | 00:20 | then to choose Export.
| | 00:22 | This will open up the Export dialog.
| | 00:25 | Now currently I'm exporting to Hard Drive so
this will just be a location on the hard drive.
| | 00:29 | I can determine that.
| | 00:31 | Let's send this file to the Desktop,
Put it in a Subfolder, and we'll name
| | 00:34 | that subfolder "Video."
| | 00:36 | Next we can rename the file if we want to.
| | 00:38 | No need to really do that,
I'm going to keep it as is.
| | 00:41 | I want to make sure to include the video files.
| | 00:43 | I can choose the Video Format;
| | 00:44 | in this case, H.264, and then I can
choose a Quality for the compression.
| | 00:49 | I have a few different options,
everything from Low up to Max.
| | 00:52 | Well, Low will say it's suitable for mobile
devices, it shows me the file size, frame rate.
| | 00:57 | I can also take that up.
| | 00:59 | This would be great for higher-end tablets.
| | 01:01 | You can see these different
settings that we can choose.
| | 01:04 | Let's say I want to export it just
as the maximum quality size, a really
| | 01:08 | nice big healthy file.
| | 01:10 | And then next I have a few options here, these
options are actually a little bit misleading.
| | 01:15 | It would be great if these were
all grayed out, but they're not.
| | 01:17 | Because these are only relevant to
images, so we can't really change the file
| | 01:21 | settings, the size, sharpening etc.
| | 01:23 | What we can do is in Post-Processing, we
can choose something to happen after export.
| | 01:29 | In this case, I'm saying open up my
Finder or my Explorer window depending on
| | 01:34 | your operating system.
| | 01:35 | That will show me the video
file once it's been exported.
| | 01:38 | So basically, we dial in those
settings then, it's really simple, we
| | 01:42 | click Export and we wait.
| | 01:44 | The good news about this is this
exporting will happen in the background.
| | 01:48 | It's going to take place here and we
can then continue to work in Lightroom. We
| | 01:53 | could work on other video
clips, whatever we needed to do.
| | 01:56 | Alright, once that's complete, it's
going to then open up in this case my Finder
| | 02:01 | window and there we can see that video file.
| | 02:04 | Just to confirm that this video file
indeed has all of the qualities, as far as
| | 02:09 | color temperature and whatnot,
I want to play this back.
| | 02:12 | I also notice that the thumbnail, the
first frame, that Poster Frame is the one
| | 02:16 | that I had set which is really nice.
| | 02:18 | On a Mac you can press the Spacebar to
play the video or you could double-click
| | 02:22 | it in order to play it.
[00:02:24:00]
(video playing)
| | 02:31 | Okay, that looked pretty good and that
had all of those qualities that we had
| | 02:35 | set up inside of Lightroom.
| | Collapse this transcript |
| Publishing to a hard drive| 00:00 | Here, we're going to take a look at
another way that we can export our video
| | 00:03 | files from Lightroom.
| | 00:04 | This involves using what's
called the Publish Services.
| | 00:07 | Now, the Publish Services are
actually kind of fascinating.
| | 00:10 | You can kind of think of the Publish
Services, in this case to a hard-drive, kind
| | 00:14 | of like export, but export
with a little bit of memory.
| | 00:17 | Let's take a look at how we can set this up.
| | 00:20 | I'm going to go ahead and click
on Setup and this will open up the
| | 00:22 | Lightroom Publish Manager.
| | 00:24 | I'm going to name this export as Video,
and I'll name this Max, because I'm
| | 00:28 | going to use a quality of a maximum here.
| | 00:31 | So I have that name there.
| | 00:33 | I'm going to put these in a subfolder,
that same subfolder we used before, "Video."
| | 00:37 | Then, I can choose my format, my quality,
and then if you scroll down, you have
| | 00:41 | a few other options which
really are most relevant to images.
| | 00:44 | So I'm just going to leave this as is.
| | 00:47 | In other words, these settings are
almost identical to the settings I used
| | 00:51 | in the Export dialog.
| | 00:52 | Well, why create them here, and what's the deal?
| | 00:55 | Well, what this allows me to do is to
drag video clips to this Publish Setting
| | 01:01 | and then to publish those all at once.
| | 01:04 | Let's take a look at this.
| | 01:05 | I'll go ahead and click Save and
you'll notice that it's just going to create
| | 01:08 | this little Publish Service for me.
| | 01:10 | This one I just created
which is called Video, here.
| | 01:13 | So I can drag a video clip to that, and
you'll notice that I now have one video
| | 01:18 | that needs to be published.
| | 01:19 | I could also drag another into that spot.
| | 01:22 | This will always be saved inside of Lightroom.
| | 01:25 | This is part of the Lightroom Catalog.
| | 01:27 | Well, if I want to view these two, I
can click on them, and then next, what I
| | 01:31 | can do is actually go to view these.
| | 01:33 | I'll go to the Grid View, so I can
check them out here as these two video files
| | 01:37 | need to be published.
| | 01:39 | To publish these or really to export
them out of Lightroom to another spot
| | 01:43 | on the hard-drive, I can either click the
Publish button here or this one down here.
| | 01:49 | I'll go ahead and click this
button, and it's going to start the
| | 01:51 | publishing process.
| | 01:53 | Well, the great thing about
using this Publish feature is this.
| | 01:57 | What it will do is it will export these,
but it kind of keeps track of things for you.
| | 02:01 | In other words, if I leave this and then
come back to it, it's going to tell me, hey,
| | 02:06 | these video files have already been published.
| | 02:08 | It will show me that and we'll
take a look at that in a second.
| | 02:11 | All of this publishing also
takes place behind the scenes.
| | 02:15 | Well, these two files are going
to take a second to publish out.
| | 02:18 | So what we'll do is go ahead and speed
this process up a little bit, and then
| | 02:22 | we're going to pick up where once these
are completed, we'll take a look at what
| | 02:25 | will happen with Lightroom.
| | 02:27 | So we can see that it's gotten
through one of the video files.
| | 02:30 | That one is complete, and
it's working on the other.
| | 02:34 | Now these video files have been published.
| | 02:36 | So what we want to do is just go ahead
and double-check and make sure they're in
| | 02:40 | that folder and everything.
| | 02:42 | I'm going to open up my Finder
window and there you have them.
| | 02:44 | Here are these two video files
that we published out of Lightroom.
| | 02:48 | So as you can see Publish in this case,
it works a lot like Export, but it just
| | 02:54 | has this built-in memory.
| | 02:56 | Why would you want to use this?
| | 02:57 | Move back to Lightroom for a moment.
| | 02:59 | You may want to use this if there are
certain Export or Publish settings that
| | 03:04 | you're using again and again and again,
or maybe you want to publish a video
| | 03:08 | three different ways at three different sizes.
| | 03:10 | Well, in that case, you could go ahead
and set those up and have three different
| | 03:14 | options here, and then just drag your
video to each option, and click Publish.
| | 03:19 | So this gives you a little bit more flexibility.
| | 03:21 | Well, Publish Services isn't all
about just publishing to a hard-drive.
| | 03:25 | It also gives you the ability to
publish your content to different sites
| | 03:29 | like Facebook or Flickr.
| | 03:31 | Well, let's take a look at how
we can do that in the next movie.
| | Collapse this transcript |
| Publishing video to Facebook| 00:00 | Another way that we can work with our
video files in the Publishing Services
| | 00:03 | panel is we can actually publish our videos
to different sites like Facebook or Flickr.
| | 00:09 | Now the process is
actually pretty much the same.
| | 00:12 | What I am going to do is explore how we can
publish, say, this video clip here to Facebook.
| | 00:16 | Well, what you need to do is to navigate
to the Publish Services panel, click on
| | 00:20 | the Plus (+) Icon, and go
to the Publishing Manager.
| | 00:24 | Here I am going to click on Facebook
and what I want to do is create a new
| | 00:27 | output or a new publishing field
here to publish my video files.
| | 00:31 | I'll name this "CO" for my initials.
| | 00:34 | Again, you can name it
whatever is relevant to you there.
| | 00:37 | To authorize this on Facebook, all
that you need to do is make sure you're
| | 00:40 | logged in to Facebook, and then once
you are, it will pull that up and you can
| | 00:44 | click Done and show that you are authorized.
| | 00:47 | Here we can define a particular album.
| | 00:50 | In this case, it's going to
go to videos. That's fine.
| | 00:53 | Next thing that I want to do is I want
to determine how I want to name this file.
| | 00:57 | Facebook can use the title of
the file name. That can be fine.
| | 01:01 | And then we could also rename this.
| | 01:03 | If we want to change the file name,
we could choose that option down here.
| | 01:07 | If we make our way all the way down,
we have some video compression options.
| | 01:10 | Now we've seen this before that Maximum,
that's going to be too big for online viewing.
| | 01:15 | Well, Medium, it's going to work well,
it gives us a little reminder of that.
| | 01:19 | This is suitable for Web sharing
and for higher-end tablets, perfect!
| | 01:23 | Once we've dialed in those
settings, we'll go ahead and click Save.
| | 01:27 | Now that we've saved this, we'll be
able to see this here in this panel and
| | 01:31 | let's open it up so we can see that
we have this particular setting here.
| | 01:35 | Next step is going to be to simply click
and drag this to that area, and then if
| | 01:39 | we click on this and go to this Grid
View, we can see that we have one video
| | 01:43 | clip that we need to publish.
| | 01:45 | I am going to go ahead and click Publish here.
| | 01:48 | This will then send this
up to my Facebook account.
| | 01:51 | Once again, the processing of this and
the uploading of this file will happen in
| | 01:55 | the background, and once this is
complete, what we'll be able to do is to pull
| | 02:00 | up Facebook and take a look at how
this publish process has gone. All right!
| | 02:03 | Well, I'll go ahead and
open up the Facebook page.
| | 02:07 | Well, here is the post and what's great about
this is I can go ahead and take a look at this.
| | 02:12 | You notice that I am able to play
this file if I want to, other people can
| | 02:16 | comment on it and share it.
| | 02:18 | And again, the great thing about this
is that this gives us new reach, new
| | 02:23 | ability to share our work in
some pretty interesting ways.
| | 02:27 | And what's really fascinating to me
about this whole process is if we go back to
| | 02:31 | Lightroom for a moment, this
process is incredibly simple.
| | 02:35 | Again, the Publish
Services has this built-in memory.
| | 02:39 | So if I want to publish another video,
all that I would need to do would be to
| | 02:43 | select that and then drag it to this
Publish Services, and then when I was
| | 02:47 | ready, I could go ahead and click Publish
and I could send this one to Facebook as well.
| | 02:52 | Now I am not going to send this one
right now, because a lot of times I
| | 02:55 | think it's a better strategy with
Facebook to kind of give a little bit of
| | 02:58 | space between your posts.
| | 03:00 | Let one post live for a while and then
add another perhaps in a couple of hours
| | 03:05 | or maybe even a couple of days.
| | 03:07 | But either way, this Publish Service
panel allows us to kind of manage this, see
| | 03:11 | what we've published, what we haven't,
and to accomplish this whole process
| | 03:15 | really quickly and easily.
| | Collapse this transcript |
| Publishing video to Flickr| 00:00 | While the process for publishing video
files to Facebook and Flickr is pretty similar,
| | 00:04 | I thought it might be helpful to just
show that process here for Flickr, which
| | 00:08 | is what I'm going to do.
| | 00:09 | So on the Publish Services Panel
let's go ahead and click on Set Up.
| | 00:13 | This will open up the
Lightroom Publishing Manager.
| | 00:16 | I am going to go ahead
and name this one CO-Flickr.
| | 00:19 | Next, I need to log into my Flickr
account, so I will go ahead and click Log
| | 00:23 | In, and this will ask me if I want to
authorize this and indeed, I'm going to
| | 00:27 | go ahead and do that.
| | 00:28 | Now in the Flickr window here--
I'll pull this one over--it says, hey!
| | 00:32 | You've arrived at this page because you
followed a link from an IM or something
| | 00:36 | not associated with Lightroom.
| | 00:38 | Well that's not the case
| | 00:39 | I came here because of Lightroom.
| | 00:41 | So I will go ahead and click Next.
| | 00:43 | This allows me to authorize this and
go ahead and then click on Authorize.
| | 00:47 | Now once I've authorized this, what I
can then do is go back to Lightroom.
| | 00:51 | Back here in Lightroom, I'll click Done.
This shows me I am now Logged in.
| | 00:55 | Next, how do I want to title this
video file that I'm going to upload?
| | 00:59 | In this case, I will just use the file name.
| | 01:01 | I will rename the file name to
something a little bit better, so I am going to
| | 01:05 | use a custom name here, and I will
just call this one, Rob_Machado.
| | 01:08 | I am going to upload the video portrait,
this short little seven-second clip there.
| | 01:13 | Next for my Video Compression settings,
I am going to go to Medium, which is good
| | 01:17 | for sharing on the web and higher-end tablets.
| | 01:20 | Image Sizing, that's not relevant to us
for this. All of these other ones aren't
| | 01:24 | relevant except for Privacy.
| | 01:26 | Make this Public so anyone can see it.
And then I'll go ahead and click Save.
| | 01:30 | Now once I've done that, I can go
ahead and drag a video file to this
| | 01:35 | particular Photostream here.
| | 01:37 | Then I can go to this Photostream
in this case in the Grid View so I can
| | 01:40 | see this needs to be published.
I will click the Publish button.
| | 01:43 | This will then publish this file and
upload it to Flickr and of course, as
| | 01:47 | always, this will take place in the background.
| | 01:49 | And once this is complete, I'll go ahead and
navigate to Flickr and we will check it out.
| | 01:53 | All right, well now that that upload is
complete, I am going to go ahead and
| | 01:56 | navigate to my Flickr Photostream.
| | 01:59 | So I will go ahead and click on that
to see what that's like. And here we can
| | 02:02 | see I have this video, and
I could click to play that.
| | 02:06 | This is going to play this
much larger in this window here.
| | 02:09 | What I can do then is click to kind
of see how the quality looks. And I am
| | 02:13 | going to turn the volume off here,
just so that's really low, and we will go
| | 02:16 | ahead and check it out.
| | 02:18 | That looks pretty good. And again,
just kind of a fun video portrait, and
| | 02:23 | that upload is complete.
| | 02:25 | Able to scrub that. Check that out.
That is live. And so as you can see,
| | 02:29 | publishing or exporting to Facebook or
Flickr is really quite a simple process.
| | Collapse this transcript |
|
|
13. Working with the DNG File FormatWhy use DNG?| 00:00 | There is a lot of excitement
surrounding Lightroom and how Lightroom is this
| | 00:03 | tool that we can use in order
to RAW process our photographs.
| | 00:07 | There is also a lot of excitement about
how we can capture RAW images when we're
| | 00:11 | using digital cameras.
| | 00:13 | Yet sometimes, all of this excitement,
it can be a little bit confusing.
| | 00:16 | It can be a little bit hard to
differentiate between the hype and also the
| | 00:20 | legitimate excitement.
| | 00:22 | And on top of that, when we are
working in RAW, we have these different file
| | 00:26 | formats, and so what I want to do
here is take a couple of minutes just to
| | 00:29 | deconstruct things and I want to
do this for a couple of reasons.
| | 00:33 | First off, so that we have a good
working understanding of these issues;
| | 00:37 | and second, so that we can start to
understand what it means to work with
| | 00:40 | digital negative files.
| | 00:42 | Okay, let's step back for a second
and let's start at the beginning.
| | 00:45 | Really, if we go the beginning, there
are two different things we talk about
| | 00:49 | when we're talking about RAW.
| | 00:50 | The first is RAW Capture.
| | 00:53 | That's images that we capture with our cameras.
| | 00:55 | We can set our cameras to
capture images at a certain format.
| | 00:59 | The other topic is RAW Processing.
| | 01:01 | Now this has to do with software
whether we're using Adobe Camera RAW or
| | 01:05 | we're using Lightroom.
| | 01:07 | So if we go to RAW Capture for a second,
what happens is, if we have our camera
| | 01:11 | set to JPEG, well, it captures the
image and then it goes through this whole
| | 01:15 | process and then generates a JPEG.
| | 01:18 | In other words, we've lost some of the data.
| | 01:20 | On the other hand, if we shoot in RAW, we
get the image just straight off the sensor.
| | 01:26 | And because of this there, again, is a
lot of this excitement about RAW and you
| | 01:30 | may have heard the comments saying that
you should always shoot in the RAW but
| | 01:33 | you shouldn't shoot in the buff,
because you might get arrested.
| | 01:36 | RAW captures really great because
again we just have all of this data to work
| | 01:41 | with, all of the information
straight off the sensor without anything
| | 01:45 | interpreting it or messing it
up or modifying it. All right!
| | 01:48 | Well, what then about RAW Processing?
| | 01:51 | Well, RAW Processing is all about
taking data and then it's about applying some
| | 01:56 | sort of set of instructions to that data.
| | 01:59 | Now what's interesting about these
instructions is they're just little lines of text.
| | 02:03 | They say I want this data be
interpreted in this particular way.
| | 02:07 | When it comes to Lightroom, what
happens is all of those instructions are put
| | 02:12 | inside of the catalog and the
catalog has all of this information.
| | 02:16 | Now that information, or those
instructions, they allow us to display the actual
| | 02:20 | pictures in a different
way, like this image here.
| | 02:23 | And what's great about
this is we can be flexible.
| | 02:25 | We can change our mind, display the
image this way or display the image this way.
| | 02:29 | Now when we're working with RAW
Processing, we can work with all different types
| | 02:34 | of file formats, whether RAW files from
the camera, DNG, PSD, TIFF, JPEG, movie
| | 02:40 | files and on and on.
| | 02:42 | So what's interesting about RAW
Processing is it's nondestructive.
| | 02:47 | In other words, we can always
change these little instructions.
| | 02:50 | This gives us flexibility and speed.
| | 02:53 | There's no need to save the file in the
traditional sense, because again, all of
| | 02:58 | our work, all of our processing, well,
it's already just saved by default in
| | 03:02 | these little instruction files.
| | 03:03 | And ultimately, this helps us to be
more creative, because we can quickly
| | 03:08 | process our images in different ways.
| | 03:10 | This added flexibility really helps us
create more compelling photographs. All right!
| | 03:15 | Well, let's jump back to a topic I just
mentioned which has to do with this file format issue.
| | 03:21 | As I mentioned, in Lightroom we can
RAW process RAW files, PSD, JPEG, TIFF,
| | 03:27 | movie files, DNG files, but a lot of
the hype and a lot of the excitement is
| | 03:31 | surrounding this whole concept of the DNG file.
| | 03:35 | Now why is that and what
is that? What is the DNG?
| | 03:40 | Well, the DNG file is
something that Adobe came up with.
| | 03:43 | It stands for Digital Negative.
| | 03:45 | And there are some really clear-cut
benefits for using this file format.
| | 03:50 | Let me walk you through those.
| | 03:52 | For starters, if you have a DNG file,
by default, the DNG format has what's
| | 03:57 | called lossless compression.
| | 03:59 | In other words, it has a smaller file
size without losing any information.
| | 04:04 | And in a sense what the DNG file
format is it's kind of like a container.
| | 04:08 | You can see this box around this image here.
| | 04:10 | It's almost like that box which then
holds the image inside of it and that box
| | 04:15 | helps us create a little
bit of a smaller file size.
| | 04:18 | You can also now change
this to Lossy compression.
| | 04:22 | We'll talk a little bit more about
that in one of the subsequent movies.
| | 04:26 | This allows us to create a smaller
file size and lose information, but some
| | 04:31 | argue that this is better
than, say, JPEG compression.
| | 04:33 | So again, there's flexibility.
| | 04:35 | Of course, we'll need to deconstruct
these two issues a little bit more, but for
| | 04:39 | now just know that by default, it's lossless.
| | 04:42 | What that means is lots of great
information, smaller file size, and for me,
| | 04:47 | I am all about that.
| | 04:48 | The next thing to consider is this.
| | 04:50 | We can now turn on this
option which is called Fast Load.
| | 04:54 | What Fast Load allows us to do in
Lightroom is to view and work with these files
| | 04:59 | up to eight times faster in the Develop module.
| | 05:03 | Now this extra added bit of speed, again,
is something that's really welcomed.
| | 05:07 | Smaller file size, work more quickly,
it's kind of a no-brainer, right?
| | 05:11 | The other advantage is that
there aren't sidecar XMP files.
| | 05:16 | Let me jump to another slide to explain this.
| | 05:18 | If we're working with a DNG file, there
isn't another file associated with it.
| | 05:23 | Even if we're saving the metadata to that
file, it's all inside of that container.
| | 05:28 | On the other hand, if we have a RAW
file, like this one here, or a JPEG or a
| | 05:33 | TIFF or whatever it is, well, it's going
to need to have some sort of a sidecar file.
| | 05:37 | The sidecar file will be
the set of instructions.
| | 05:40 | These are two separate or distinct files
versus with DNG, well, there aren't any
| | 05:45 | sidecar files at all.
| | 05:47 | Then the last issue is of archival confidence.
| | 05:51 | A number of Lightroom users use the
DNG format simply because of this.
| | 05:56 | This format is open source, meaning
anyone can access the information about it,
| | 06:01 | and ideally, the hope is that this
will have more archival relevance.
| | 06:06 | In other words, let's say, you shoot
with a particular camera in a certain RAW
| | 06:09 | format and all of a sudden, that camera
company stops supporting that format or
| | 06:14 | maybe goes out of business or who knows what.
| | 06:16 | Well, then you could run
into problems in the future.
| | 06:20 | The DNG format on the other hand, well,
it's supported by Adobe and it's open source.
| | 06:25 | So that information about the
format, well, it can never be lost.
| | 06:28 | It's already out there and
anyone can learn how to access that.
| | 06:32 | So in other words, people use this DNG
format and the hope is that this will be
| | 06:36 | an archival type of a format.
| | 06:38 | So again in my own workflow, I've
adopted this DNG format completely because of
| | 06:42 | these different reasons;
| | 06:44 | file size, speed, no other need for
sidecar files, and also for confidence of
| | 06:49 | being able to access and work
with these files in the future.
| | 06:52 | Now in your own workflow, you're going
to need to make the decision about what
| | 06:55 | file format works best for you.
| | 06:58 | Yet my hope with this movie is that it
gives you a little bit of information.
| | 07:02 | For starters, it helps you kind of
understand some of the issues surrounding
| | 07:06 | this whole idea of RAW
Processing and RAW Capture.
| | 07:09 | It also helps you start to see about
some of the benefits of DNG and why you may
| | 07:14 | want to consider using that format. All right!
| | 07:16 | Well, I hope that this movie has been
helpful and now that we have a little bit
| | 07:20 | of a working understanding of RAW and
also of DNG, what I want to do in the next
| | 07:25 | couple of movies is take a look at a
couple of examples of how we can work with
| | 07:29 | this DNG format inside of Lightroom.
| | Collapse this transcript |
| Converting to DNG and the Embed Fast Load Data option | 00:00 | Here I want to share with you a few
ideas in regards to converting your
| | 00:03 | photographs to the DNG format.
| | 00:05 | Now the first way that you can convert a file
to the DNG format is through the Import dialog.
| | 00:11 | Yet before you get to the
Import dialog, you want to turn on an
| | 00:14 | important preference.
| | 00:15 | If you go to your Lightroom pull-
down menu, you can choose Preferences.
| | 00:19 | You want to navigate to this fourth
tab over here, File Handling, and then in
| | 00:24 | the Import DNG Creation, you want to
make sure this check box is turned on,
| | 00:29 | Embed Fast Load Data.
| | 00:31 | Now by default this'll be turned on,
but what this allows us to do is to work
| | 00:35 | much more quickly with these
files in the Develop module.
| | 00:39 | So again, make sure you
have that option turned on.
| | 00:41 | The other thing I recommend is that
you choose an option which is compatible
| | 00:45 | with the highest level of Camera Raw.
| | 00:47 | Well once you've done that, what you
can do of course is simply click the
| | 00:51 | Import button, this will open up the
Import dialog, and here you can choose
| | 00:55 | this option to Copy as DNG.
| | 00:58 | Well we've already talked about
that in the chapter on Importing.
| | 01:01 | Yet I just wanted to remind you of that process.
| | 01:04 | What happens if we've already brought
our images into Lightroom and they
| | 01:08 | aren't in the DNG format?
| | 01:10 | Say like this image here, it's a .CR2.
How could I convert this to that DNG format?
| | 01:16 | But what you can do is navigate to the
Library pull-down menu and then you can
| | 01:20 | select Convert to DNG.
| | 01:22 | This will open up this Convert to DNG dialog.
| | 01:25 | Now here you have a few options. Do you
want to convert just the Raw files, or
| | 01:30 | do you want to convert jpeg, tiffs, other files?
| | 01:32 | Typically you want to do
this just with the RAW files.
| | 01:36 | Next, do you want to Delete the
originals after successful conversion.
| | 01:40 | In other words, do you want to take a
RAW file, turn it into a DNG so that you
| | 01:44 | only have one file in this folder?
| | 01:47 | Or do you want to keep two files in
this folder, one new DNG file and then also
| | 01:53 | the old CR2 or old RAW file,
whatever file format it is?
| | 01:57 | Now typically when you do this most
people decide to Delete the originals,
| | 02:02 | because the DNG file
contains all of that information.
| | 02:05 | Now there are those who argue against this.
| | 02:07 | They say, you know what, the camera
manufacturer maybe has some special info
| | 02:11 | about this RAW file that I might be
able to tap into using their software.
| | 02:16 | So in that case I want to keep
that RAW file, the original file.
| | 02:20 | Well if that was your preference you
go ahead and turn this checkbox off.
| | 02:24 | Now in my own workflow, I convert
to DNG, I discard the original file.
| | 02:29 | But again, you're off to decide what
works the best for you, but that's what
| | 02:33 | I do in my workflow.
| | 02:34 | Next for the DNG Creation we have a few options.
| | 02:37 | We can choose a File Extension, Compatibility.
| | 02:40 | We've already talked about that.
| | 02:42 | It's always a good idea to
choose the latest and greatest there.
| | 02:45 | Then we have JPEG Preview, you
can determine what Preview you want.
| | 02:48 | And then finally we've this
checkbox for Embed Fast Load Data.
| | 02:53 | This is what you want to have turned on.
| | 02:55 | And this is going to be the case for
those DNG files that you want to have that
| | 02:59 | are really big, full-sized DNG files.
| | 03:01 | So you can work incredibly quickly with those.
| | 03:04 | Now of course another way to deal with
the original file is if you wanted to
| | 03:09 | embed that inside of the
DNG you could do that here.
| | 03:12 | Yet a word of caution, this will
increase the file size significantly.
| | 03:18 | So again in my own workflow,
I leave that turned off.
| | 03:21 | Alright, well what about Lossy Compression?
| | 03:23 | Well that's actually something we'll
discuss in another movie so I'm going to
| | 03:27 | skip that one for now.
| | 03:29 | So again if this were my own workflow,
I would Delete the originals after
| | 03:33 | successful conversion and then I
would go ahead and click OK in order to
| | 03:37 | process this image to convert it to
that DNG format with that Embed Fast Load
| | 03:42 | Data option turned on.
| | Collapse this transcript |
| Reducing file size with the lossy compressed DNG| 00:00 | In one of the previous movies I
had a slide where I talked about DNG
| | 00:03 | Compression, and I mentioned that by
default DNG Compression, well, it's lossless.
| | 00:08 | In other words, smaller file
size, without losing information.
| | 00:12 | Well, now there's also a way to work
with the DNG file format and compress those
| | 00:17 | files so that it's lossy, in other
words, so that you lose information.
| | 00:23 | Now, why in the world would
you want to lose information?
| | 00:26 | Well, it's a great question, right?
| | 00:27 | Well, there are certain situations
where you're going to have files and you
| | 00:30 | don't want to save all of
the data of those files.
| | 00:34 | So let's say, for example,
with this folder here.
| | 00:37 | If you navigate to Exercise Files > Photos >
People and then Becky, you can see that
| | 00:42 | I have three images. And let's say that
out of these three images I really like
| | 00:46 | the first one and the third one, but I
want to keep the second one just in case.
| | 00:52 | I want to have it in my archives, just
because I might need that, although I
| | 00:57 | don't really think so.
| | 00:58 | Well, in situations like that what
you might want to do is use this Lossy
| | 01:03 | Compression, which actually
makes a much smaller file size.
| | 01:07 | So in order to do that we would
navigate to our Library pull-down menu and
| | 01:11 | then we would choose Convert to DNG,
and go ahead and stick with me, even if
| | 01:15 | this is seeming a little bit confusing.
I think it will become more clear by
| | 01:18 | the end of this movie.
| | 01:20 | So here what I am going to do is I
am going to Convert this Raw file.
| | 01:23 | I don't want to delete the
original, I am going to keep that.
| | 01:26 | I am going to choose this DNG Extension,
file Compatibility, we can see that there.
| | 01:30 | JPEG Preview: Medium.
| | 01:32 | Sure we'll go with Fast Load.
| | 01:34 | But then, I'm checking on Lossy Compression.
| | 01:37 | So this is the thing that's
going to make this file different.
| | 01:41 | I am going to go ahead and click OK and
it's going to convert this file to that format.
| | 01:45 | Well, now that it's done that, what I
want to do is I want to take a look at
| | 01:48 | this file in the Finder or
Explorer window. So let's do that.
| | 01:53 | Here I am going to right-click or
Ctrl+Click and choose Show in Finder.
| | 01:57 | This is going to show me all of these files.
| | 02:00 | Now, if we take a look at this for a
second, we can see this is the new file.
| | 02:04 | This is the one with
compression that we just created.
| | 02:08 | Now, this file, well, that was our
original file, that was the normal DNG.
| | 02:13 | If you look at the file Size, this one
is approximately 5 megs, while this one,
| | 02:17 | it's approximately 18 megabytes.
| | 02:20 | There is a really huge
difference in file size here.
| | 02:23 | What's great about this is, there won't
be a significant difference in quality.
| | 02:28 | Now, of course it's going to
have less quality, because there is
| | 02:30 | less information there.
| | 02:32 | This compression is very
similar to JPEG compression.
| | 02:35 | Yet, what it's doing for us is still
giving us access to a lot of the raw
| | 02:39 | capabilities of this file format.
| | 02:41 | So we have the smaller file size,
yet it's a really nice and high quality
| | 02:45 | version of the file.
| | 02:47 | Just to illustrate that, over here in
this folder in Lightroom, I am going to
| | 02:51 | choose to Synchronize this folder.
| | 02:54 | What that means is if there's an image
in this folder that it's not showing, I
| | 02:58 | want it to display that.
| | 02:59 | Here I am going to right-click or
Ctrl+Click and then choose Synchronize.
| | 03:04 | This is going to tell me, hey,
there's one photo which is missing, that
| | 03:07 | one which I had converted, I want to bring
that one back, and let's go to that folder now.
| | 03:12 | So here you can see we have becky
-2, and then we have becky-2-2.
| | 03:17 | So this is the one with Lossy Compression,
this is the one without any compression.
| | 03:22 | I am going to double-click on
this one, and go to this 1:1 view.
| | 03:26 | In this 1:1 view what I am interested in
doing is kind of seeing the detail that
| | 03:30 | I have in this photograph.
| | 03:31 | So we'll zoom in to say an area of the eye.
| | 03:34 | So in this case, the quality of
this file, it looks really good.
| | 03:38 | Well, let's compare that.
| | 03:40 | We can do a nice comparison by using
either the Compare or Survey, or we could
| | 03:45 | just go back and forth between two images.
| | 03:47 | I'll click on both of these images, hold
down the Command key, and then click Compare.
| | 03:54 | Now, what Compare is going to do for me
is allow me to have these side-by-side
| | 03:58 | and evaluate these pictures.
| | 04:00 | I am just going to wait for the
full DNG photo on the right to load in.
| | 04:04 | Right now it's just loading
the data for that preview.
| | 04:07 | And as you look at these side-by-
side, again, keep in mind these are
| | 04:10 | unprocessed, they look pretty
similar, even at this 1:1 view, which is
| | 04:16 | absolutely phenomenal.
| | 04:18 | Now, where we'll see these images
fall apart, and where we'll see stronger
| | 04:22 | differences is when we start processing them.
| | 04:25 | In other words, you can
kind of think of it this way.
| | 04:27 | Let's go back to the Grid View for a second.
| | 04:29 | With these two files, the one that's
been compressed and the one that hasn't,
| | 04:34 | well, the one that's been
compressed, it's a little bit more brittle.
| | 04:37 | You can't quite stretch it
or push it as far or as hard.
| | 04:41 | Well, the DNG file that just has all
of the raw data in there, well, you can
| | 04:45 | get away with a lot.
| | 04:46 | You can pull a lot of data out of the
Highlights, you can boost those Shadows
| | 04:49 | without getting too much
noise, you can do quite a bit.
| | 04:52 | So keep in mind that while this does
save file size, there is a downside, right?
| | 04:57 | Of course you're losing some information.
| | 04:59 | So again, what's another scenario for this?
| | 05:02 | Well, let's say that you shoot a wedding.
| | 05:04 | At a wedding, you shoot 1,000 pictures.
| | 05:07 | Out of the 1,000, you're
going to give the client 300.
| | 05:10 | Let's say you're really generous and that's
your image count, those are great photographs.
| | 05:15 | Well, you also may want to keep
those other 700 photographs just in case
| | 05:20 | something happens or you need to
pull from them for some reason.
| | 05:24 | But you don't want all of that file size.
| | 05:26 | I mean, that is a lot of file size.
| | 05:29 | So in those situations perhaps you'll
select all of those images and convert
| | 05:33 | them to that DNG format, with Lossy
Compression turned on, therefore you can
| | 05:38 | save them, but you'll be
saving them at a smaller file size.
| | 05:42 | Well, whatever the scenario, this whole
capability, it opens up new options for
| | 05:46 | us as we explore how we can work with
this DNG format and integrate this into
| | 05:51 | our overall workflow.
| | Collapse this transcript |
|
|
14. Working with MetadataAdding keywords| 00:00 | In this chapter we'll be working
with this set of photographs, these
| | 00:02 | photographs are part of this project that I've
been working on with the working title of SALT.
| | 00:07 | It's about photographing people who
are somehow connected to the ocean.
| | 00:11 | And these images while they were
captured with a film camera have been scanned
| | 00:15 | and now brought into Lightroom, and
one of the things that we need to do so
| | 00:19 | often with our photographs is
add some sort of a keyword to them.
| | 00:23 | These keywords can really help us
access and organize these pictures.
| | 00:27 | Here we have a few
different types of photographs.
| | 00:30 | Some with the subject in the picture,
this one without someone in it at all but
| | 00:34 | I really like how the
exposure worked on this frame.
| | 00:37 | Or others like this one over here which
was an accidental double exposure where
| | 00:42 | I loaded that sheet of film twice
because my assistant had handed me the film
| | 00:46 | loader twice, but I kind of like the result.
| | 00:48 | So I'm going to have some
interesting keywords to add to these.
| | 00:51 | Some which are general to the
group, some which are specific to
| | 00:55 | particular photographs.
| | 00:57 | So one of the things that you can do in
regards to keywords as you can select a
| | 01:00 | photograph then navigate
to the Keywording panel.
| | 01:03 | Now here in the Keywords Tag pull-
down menu you want to make sure to
| | 01:07 | select Enter Keywords.
| | 01:09 | Now this particular person's name is
Jeff Johnson, so I'm going to go ahead and
| | 01:12 | type out his name and then click Enter or
Return that has now been added to this picture.
| | 01:18 | Well of course as you start to add
keywords to your photographs you have to
| | 01:22 | remember there's got to be a
better way, well indeed there are.
| | 01:26 | I can go ahead and click on the next
photograph and you'll notice that I can
| | 01:29 | choose from Keyword Sets, Recent Keywords here.
| | 01:33 | There's Jeff Johnson I can click on that that
will then add that keyword to this photograph.
| | 01:38 | Well how else can I add keywords?
| | 01:40 | Well I can go ahead and
click on another picture here;
| | 01:43 | in this other picture you'll notice
that Lightroom has all of a sudden learned
| | 01:47 | something, it's giving me a suggestion.
| | 01:50 | It's assuming that I might also
want Jeff Johnson in the list here.
| | 01:54 | That's new to this image, it now built
up that base of information and gave me
| | 01:58 | that so I can click on it,
add it to the picture.
| | 02:01 | And again we can go down and see how
we have a number of different ways we
| | 02:04 | can add those keywords.
| | 02:06 | Well what about adding keywords just
to a group of pictures, like all of the
| | 02:11 | rest of them? One keyword, that's easy.
| | 02:14 | Click on an image, hold down the Shift
key, click on the last image and then you
| | 02:18 | can add it with any of the methods that
we talked about and this time I'll just
| | 02:21 | type out his name Jeff Johnson
and then press Enter or Return.
| | 02:25 | And now as we click through these
photographs, let's click off of that one.
| | 02:28 | Click through them, you'll notice
that that keyword is part of this mix.
| | 02:32 | Now you may also want to get specific here.
| | 02:35 | For example, we get to this image and
we realize that we have a keyword that we
| | 02:40 | don't want, I don't want Jeff Johnson.
| | 02:43 | We'll click in there,
highlight it, Delete, it's now gone.
| | 02:47 | We can also go to other photographs, let's
say like this one here and add an extra keyword.
| | 02:53 | I'm going to call this double
exposure and then press Enter or Return.
| | 02:59 | I can go to the track's photograph and
then just title this one Train Tracks.
| | 03:03 | I love photographing train tracks.
| | 03:05 | Now you can see we can add these
keywords and what's wonderful about this
| | 03:09 | is this information is now part of these
files, it is part of this Lightroom Catalog.
| | 03:14 | Lightroom will remember this.
| | 03:16 | If we leave this folder and then come
back, well as we click on these images
| | 03:21 | we'll see all of those keywords
which are added to these photographs.
| | 03:25 | And we can take advantage of this data.
| | 03:27 | It can help us as we seek to manage,
process, and work with our images.
| | Collapse this transcript |
| Creating and using keyword sets| 00:00 | Another way to speed up your overall
keywording process is to work with keyword sets.
| | 00:05 | As you can see down here we have a
Keyword Set and what we can do is choose
| | 00:09 | something like Recent Keywords or we
could choose Outdoor Photography and it
| | 00:13 | will give us some different
keywords here that we may want to use.
| | 00:16 | Well we can also choose something
which allows us to create our own set.
| | 00:21 | In order to do that, you can either
go to this menu and choose Edit Set,
| | 00:25 | this will open up the Edit Keyword Set dialog.
| | 00:28 | Or if you forget that technique, you
can always go to the Metadata pull-down
| | 00:33 | panel, assuming that you'll find
everything about metadata here, right.
| | 00:36 | You can go to Keyword Set
and then you can choose Edit.
| | 00:39 | This will give you the
ability to edit your current set.
| | 00:42 | In this case what I want to do is I
want to change this up a little bit.
| | 00:46 | I need to add some more keywords that
are relevant to this particular project,
| | 00:51 | so I'm going to go ahead and type these out.
| | 00:53 | These are all keywords which would be
relevant for this particular photography
| | 00:56 | project and it'd be nice to have a
preset so that I could have all of these set
| | 01:01 | up or it'd be nice to have this saved
as a set so that I could tap into these.
| | 01:05 | Well, in order to save these out
as a preset, it's super-simple.
| | 01:09 | All that you do is go to this Preset
pull-down menu and choose Save Current
| | 01:13 | Settings as a New Preset.
| | 01:14 | I'm going to go ahead and name this
one SALT which is the name of this
| | 01:17 | photography project.
| | 01:19 | You could name this
preset based on whatever it is.
| | 01:21 | If you do outdoor photography and maybe
you shoot a lot in the mountains, in the
| | 01:26 | snow, well you could have a preset
which is completely related to snow.
| | 01:30 | Or maybe you're a fashion photographer
and you work with a particular client,
| | 01:34 | you use keywords for that client;
| | 01:35 | it could be that client's name.
| | 01:37 | Again, this preset is really up to you,
what you name it and also of course what
| | 01:42 | keywords you choose there.
| | 01:43 | Try to create a few that will be
relevant for your workflow because what it will
| | 01:48 | do is it will ensure that
you actually use keywords.
| | 01:51 | Because the trick with keywords is we all know
we should, but we all don't do enough of this.
| | 01:57 | This is a technique which will help us out.
| | 01:58 | Alright, we'll go ahead and click
Create and then we'll choose Change and that
| | 02:02 | will then give us the
ability to access this set.
| | 02:05 | Now if we had a different set available,
say Portrait Photography, we could then
| | 02:10 | toggle between that and also
the keyword set that we applied.
| | 02:14 | Now if we're ready to add one of the
keywords to an image, say this one here, we
| | 02:18 | can simply click on it in
order to add it that way.
| | 02:21 | There's also a shortcut that
we can use with keyword sets.
| | 02:24 | So if you're a shortcut aficionado,
here it is: you hold down Option or Alt
| | 02:30 | and what that does is it shows you the
different numbers associated with these keywords.
| | 02:35 | For example, I want to add this keyword, "film."
| | 02:39 | What I can do is press Option and then
the 1 key that will then add that keyword
| | 02:44 | as you can see up here.
| | 02:46 | And this is really handy.
| | 02:47 | As we click on an image, you hold down
Option or Alt, you don't have to memorize
| | 02:52 | what number is what, you can just look
at that, you can go ahead and say okay,
| | 02:56 | I'm going to add this one, this guy is
a surfer, I'm going to press Option+2.
| | 03:00 | I've now added that keyword from
that keyword set by way of a shortcut.
| | Collapse this transcript |
| Synchronizing keywords| 00:00 | Here I want to look at a quick tip that
we can use when we need to synchronize
| | 00:03 | keywords across multiple files.
| | 00:06 | In order to make this simple, let's go ahead
and click on the last two images in the set.
| | 00:10 | Click on one, hold down Command
or Ctrl then click on another.
| | 00:14 | One of the things you'll notice
is you've this Auto Sync option.
| | 00:17 | You can flip the switch to
toggle between Sync or Auto Sync.
| | 00:21 | Let's flip on Auto Sync and then what I want to
do is, I want to delete all of these keywords.
| | 00:27 | I'm going to remove them all and
I'm going to add just one keyword.
| | 00:30 | I'm going to do this just to keep it kind
of simple, so we can see how this works.
| | 00:34 | I'm going to add 4x5 because these
photographs were captured with this 4x5 camera.
| | 00:39 | I'll go ahead and click to add that, and
then I'm going to click off of these images.
| | 00:43 | What you'll see here is that I now
have that keyword on both of these files,
| | 00:47 | both of those are synchronized.
| | 00:49 | You know another way to do this, is to
click on one image, hold down Command or
| | 00:53 | Ctrl and click on another or you can
always hold down the Shift key as well, and
| | 00:57 | click on another photograph to select it.
| | 01:00 | Just make sure you have
one or more photos targeted.
| | 01:03 | The next thing you can do is, if you
don't have Auto Sync turned on, you can
| | 01:06 | click on the Sync button to open
up the Synchronized Metadata Panel.
| | 01:11 | Now here you can see you have
a wide range of information:
| | 01:14 | Camera Info, IPTC Info,
Copyright, so on and so forth.
| | 01:19 | Well down at the bottom we have keywords.
| | 01:21 | Well I want to add a keyword to this.
| | 01:23 | I'm going to go ahead and just add his
name back to these two images here and
| | 01:27 | then I'll click Synchronize.
| | 01:29 | Now what that will allow me to do is to
have those two keywords on these two images.
| | 01:34 | In other words, if ever you need to
have photographs with the same types of
| | 01:39 | keywords, you can use these techniques.
| | 01:41 | The two techniques that you can use
are Auto Sync, that allows you to do that
| | 01:46 | automatically, or you can always
click on the Sync button to open up the
| | 01:50 | Synchronized Metadata panel, and then
modify the keywords inside of that panel,
| | 01:55 | in order to make those changes.
| | Collapse this transcript |
| Keywording with the Painter tool| 00:00 | Another way that you can add
metadata to your photographs is by using the
| | 00:03 | Painter tool inside of this Grid view.
| | 00:06 | In order to access that press the
G key to navigate to the Grid view.
| | 00:10 | Next, you want to have your Toolbar
visible, you can press the T key to hide or
| | 00:14 | to show that Toolbar.
| | 00:16 | And then in the far right-hand side
click on the icon which allows you to
| | 00:19 | display different things in the Toolbar.
| | 00:21 | Here we are going to select the Painter tool;
| | 00:23 | once you have this you can go
ahead and click on that tool.
| | 00:27 | This will allow you to paint
different things on your images;
| | 00:30 | Keywords, Labels, Flags, Ratings, etcetera.
| | 00:32 | Well here our focus is Keywords, so let's
leave out option selected there, Keywords.
| | 00:38 | Next, you can enter in a keyword.
| | 00:40 | The keyword that I am going
to enter in is "sepia toned."
| | 00:42 | Once you enter into that all that you
have to do is to click off of that field
| | 00:46 | and then hover over your image.
| | 00:48 | Notice when you do, the cursor changes,
you can see that it now looks like
| | 00:52 | a little paint can.
| | 00:53 | Here I can just click in order to
assign keywords to those photographs.
| | 00:57 | We can also click and then drag across
images, and as we do that we can assign
| | 01:02 | keywords to those pictures.
| | 01:04 | Once you're done, you can put this away
by simply clicking it back into its dock
| | 01:09 | or by pressing the Done key.
| | 01:10 | To double-check our keywords we can
then click on the images and what we'll be
| | 01:14 | able to see is it now says "sepia toned."
| | 01:17 | So again, this just gives you yet another
way to add keywords to your photographs.
| | 01:21 | This is a little bit more like dragging-
and-dropping, and sometimes this can be
| | 01:25 | helpful especially when
you're here in the Grid view.
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| Working with the Metadata panel| 00:00 | Let's take a look at how we can work with
the Metadata panel in the Library module.
| | 00:04 | The Metadata panel is actually
pretty powerful, quite fascinating.
| | 00:08 | I am going to go ahead and click to
expand this, and you'll notice we have a
| | 00:11 | pull-down menu at the top,
right now it says Default.
| | 00:14 | This is kind of a snapshot
of the metadata for this file.
| | 00:18 | Now there are different types
of metadata we can work with;
| | 00:20 | descriptive or additive.
| | 00:22 | In other words, metadata that's
just kind of part of the file, it's the
| | 00:25 | filename or the file size.
| | 00:28 | Additive, well that's metadata that
we are going to add like a title or a
| | 00:31 | caption, or copyright information.
| | 00:34 | And what we can do here with this panel
is we can click on the pull-down menu at
| | 00:37 | the top and we can display different
types of metadata, basically whatever we
| | 00:41 | want to focus in on.
| | 00:43 | Let's say we go to EXIF and IPTC, we
are going to see a lot of information.
| | 00:47 | Here we have a lot of info about the
file, ratings, titles, captions, who
| | 00:52 | created the file, headlines, subjects,
categories, workflow, so on and so forth,
| | 00:57 | a lot of information.
| | 00:59 | Well what tends to happen is when you
get focused on metadata, really it's
| | 01:03 | almost like the rest of Lightroom just
for a few moments; it doesn't matter.
| | 01:08 | And all of the interface that's
dedicated to other things here or the space that
| | 01:12 | we're giving to other panels and
stuff is a little bit like wasted space.
| | 01:16 | It's kind of like if you've used Adobe
Bridge to add metadata, you know there is
| | 01:20 | a workspace which reconfigures things,
so you just focus in on the task at hand.
| | 01:25 | Well we can do that in Lightroom as well.
| | 01:27 | We can do that by using a nice
shortcut and let's check this out.
| | 01:31 | You press Shift+Tab.
| | 01:33 | That minimizes almost everything, right?
| | 01:35 | Next step, click on the triangle icon on
the right to open up the right-hand panels.
| | 01:41 | Well this is what I would recommend
you do when you're working on metadata.
| | 01:45 | Because metadata is about details and
kind of focusing in on these little things
| | 01:51 | that we want to do again-and-again.
| | 01:52 | Sometimes, it's helpful to kind of
clean up the interface so we can do that.
| | 01:56 | Another thing that you can do is, hover
over the dividing line of the right-hand
| | 02:00 | panels and click-and-drag this out to
dedicate more space to the Metadata panel.
| | 02:06 | Now let's say that we have an image like
this, and what we want to do is add a caption.
| | 02:11 | We could add a caption here in this
field or you could go to this pull-down menu
| | 02:16 | and choose Large Caption, this then will
take you to another view of this panel.
| | 02:21 | Now here what I am going to do is type out
a caption. There you have it, my caption.
| | 02:26 | Now to exit this Caption field I can
just click off of that and you'll see that
| | 02:29 | that will then be part of that image.
| | 02:32 | Now why am I doing this?
| | 02:33 | Well I am doing this to kind of illustrate
the way you work with the Metadata panel.
| | 02:38 | In other words, based on whatever task
you're trying to accomplish, you choose
| | 02:42 | from this pull-down menu, the view
which is going to be most relevant to you.
| | 02:46 | Now, you can always find this
information in other places.
| | 02:51 | Let's go back to this EXIF and IPTC view;
| | 02:54 | well here we are going to see
there is the caption in this area.
| | 02:57 | Or let's go back to just the EXIF view,
now here you can see we don't have that.
| | 03:03 | In other words, what you want to do is
find the pull-down options that are most
| | 03:07 | relevant to the task at hand.
| | 03:09 | Now at first glance all of this
metadata information can be a little bit
| | 03:13 | overwhelming or confusing.
| | 03:15 | But what you want to do is just click
through these options to kind of become
| | 03:19 | familiar with what's there.
| | 03:21 | Soon you'll discover that, okay, I
get what's an IPTC as opposed to IPTC
| | 03:26 | extension, and you can then kind of teach
yourself about what you're going to do in each area.
| | 03:31 | For example back to IPTC, well here is
where we are going to go ahead and put
| | 03:35 | the Creator name, we can put the
Address in there and I'll just put some demo
| | 03:40 | information, of course for
right now, just so you get the idea.
| | 03:46 | So we could have all of that
information inside of these fields, we've now
| | 03:50 | added this to this file.
| | 03:51 | Now speaking of this IPTC information,
this of course is really good information
| | 03:57 | to have as part of your images.
| | 03:59 | That way whenever you're sending a
client, friend or whoever, one of your
| | 04:03 | photographs, it has all of this info,
including your phone, your e-mail and your
| | 04:07 | website, and again it's just a
really handy way to include some valuable
| | 04:11 | information with your photographs.
| | 04:14 | Because so often what can happen is,
your pictures can end up different places
| | 04:18 | and they can kind of get
disconnected from who the creator actually was.
| | 04:22 | Well having metadata on your files
ensures that all of that really sticks together.
| | 04:27 | All right, well now that I have given
you a little bit of an overview of the
| | 04:30 | Metadata panel, let's take a look at
a practical example of how we can add
| | 04:34 | metadata, say to a group of photographs,
and in particular I want to focus in
| | 04:38 | on adding copyright information, so let's take
a look at how we can do that in the next movie.
| | Collapse this transcript |
| Adding copyright metadata with a template| 00:00 | Regardless of the type of photographer
you are, whether you're an amateur or
| | 00:03 | professional, whether you photograph
mountaintops or people or plants or
| | 00:07 | whatever it is, we can all benefit
from working with the Metadata panel.
| | 00:12 | Yet what's interesting is that all
of our needs are really different.
| | 00:15 | If we are a stock photographer say
versus a wedding photographer, well the type
| | 00:20 | of metadata that we are going to add
and the way that we are going to work with
| | 00:23 | metadata, well it's just completely different.
| | 00:26 | Yet the one thing that unites us all
is that we all need to add copyright
| | 00:30 | information to our photographs.
| | 00:32 | So here I want to explore how we can do that
and how we can do that by way of using Presets.
| | 00:37 | Now before we get to working with the
Metadata panel in the Library module, I
| | 00:42 | want to step back in time for a
minute and go back to the Import dialog.
| | 00:46 | You'll remember this, right?
| | 00:47 | If you click on the Import button,
in the right hand side you can apply
| | 00:51 | metadata upon import.
| | 00:53 | Here you can create a Metadata preset.
| | 00:55 | You can have one which is your copyright
information so that upon import, all of
| | 00:59 | your images already have
that as part of their metadata.
| | 01:03 | Well let's say though, you forgotten
to do that or you need to change that.
| | 01:07 | Well how can you do that after
you've left the Import dialog?
| | 01:11 | Well let's take a look at that.
| | 01:13 | Here I will click Cancel to exit out of this.
| | 01:15 | And here in the Metadata panel,
I'm in is the Default view.
| | 01:19 | You'll notice up top we have a Preset option.
| | 01:22 | Well here you can click on this
Preset and choose Edit presets.
| | 01:26 | You can also access Edit Presets by
going to the Metadata pull-down menu and
| | 01:31 | then selecting Edit Metadata Presets.
| | 01:33 | It will both open the same exact dialog,
again just two ways to do the same thing.
| | 01:38 | So either way, let's go ahead and
select Edit Presets, this will open up our
| | 01:43 | Edit Metadata Presets panel.
| | 01:45 | Well in this case let's say that what
I want to do is change my Copyright, so
| | 01:49 | that it has a year in there,
Copyright 2012 Chris Orwig.
| | 01:53 | Copyright Status, I'm going to turn that on
and I'm going to leave those two fields as is.
| | 01:57 | And I want to create a
preset with this information.
| | 02:01 | Next, we'll go to our Preset pull-down menu
and choose Save Current Settings as a New Preset.
| | 02:06 | Now this will give me the
ability to save this out.
| | 02:09 | On a Mac you press Option+G, Windows
Ctrl+Alt+C and then you can go ahead and
| | 02:15 | type out the rest of that, and Option+G
or Ctrl+Alt+C gives you the ability to
| | 02:19 | create that circle C copyright icon.
| | 02:22 | Alright, well here is the Preset Name
and again you can name this whatever you
| | 02:26 | want, I am just trying to create a demo
here, so I am going to use my own name.
| | 02:29 | We will click Create and
then we will click Done.
| | 02:32 | Well at this point, nothing is changed,
we haven't really done anything except
| | 02:37 | defined or created a new Preset.
| | 02:40 | Well here is a great thing about this.
| | 02:42 | To update the metadata all that we need
to do is to go to this Preset pull-down
| | 02:46 | menu and then to choose the option that
we want to choose there, you notice the
| | 02:50 | Copyright is now updated.
| | 02:52 | We can also do this, we can click on
one image Hold down on the Shift key and
| | 02:56 | click on another and make sure Auto
Sync is turned on, so you want to flip
| | 03:00 | this little switch here.
| | 03:02 | And then to your Preset pull-down menu,
what you can do is you can select the Preset.
| | 03:06 | Now if by default, the current preset
is on 2012, it may be a good idea just to
| | 03:12 | go to None for a second and then go
back to 2012, just to make sure that it's
| | 03:16 | going to catch that and apply
that to all of those pictures.
| | 03:19 | Yeah, apply this to every photo? Definitely.
| | 03:22 | I'll Select it and now if we click
off these pictures and click on one at a
| | 03:26 | time, you'll notice we have that
Copyright information now updated.
| | 03:30 | It's all exactly the same.
| | 03:32 | Now the great thing about this is
what I've shown you here's how to work
| | 03:35 | with adding a copyright.
| | 03:37 | But I have also shown you how to work
with Presets and how you can start to
| | 03:41 | create these Presets which have
valuable and important metadata, which is
| | 03:45 | relevant to you say as a stock
photographer, a wedding photographer, a
| | 03:49 | family photographer or just an
enthusiast who photographs all sorts of
| | 03:52 | subjects and things.
| | 03:54 | Well whatever it is, whatever types of
metadata you need to add, you can create
| | 03:58 | Presets for that and then you can
quickly and easily add that metadata to
| | 04:03 | multiple files by taking advantage of
those Presets here in the Metadata panel
| | 04:07 | or, also, going back to that Import dialog,
you can tap into those Presets here as well.
| | 04:14 | So in both situations these presets
can really help you speed up your overall
| | 04:18 | workflow in regards to adding
metadata to your photographs.
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| Filtering photographs based on metadata| 00:00 | Sometimes metadata can kind of seem static.
| | 00:02 | What I want to do here is talk
about how we can add some metadata which
| | 00:06 | can really be dynamic.
| | 00:07 | We can add it to these fields which
can actually have little trigger buttons
| | 00:11 | which can trigger different types of actions.
| | 00:14 | Well, in order to do this, let's take a
look at how we can add some of this data.
| | 00:18 | Well, currently I am on this
photograph here in the Library module.
| | 00:22 | My Metadata panel, it's in the Default view.
| | 00:24 | I am going to add a red label to this.
| | 00:27 | You'll notice that I now have this Label
field here and I have an arrow next to it.
| | 00:31 | Now this icon is actually really quite powerful.
| | 00:33 | Let me click on another image and add
another red label to this photograph.
| | 00:37 | Well, if I go to the grid view by
pressing the G key, I have all of these
| | 00:43 | thumbnails visible, only two with a red label.
| | 00:45 | Well, if I click on this icon, what it
will do is it will sort my library based
| | 00:51 | on all of those photographs
that have this particular filter.
| | 00:54 | In other words, this little button,
it acts as a trigger which triggered
| | 00:59 | that type of a search.
| | 01:01 | Now I can turn this filtering off, I
can get out of this filtering and I can do
| | 01:06 | so simply by pressing Command+Z or
Ctrl+Z to undo that active search.
| | 01:11 | Now what else can I do with this?
| | 01:13 | Well, if we go to a pulldown menu,
say, like IPTC, we can scroll down to
| | 01:17 | this Creator field.
| | 01:19 | And in this Creator field, you'll
definitely want to add your information. You
| | 01:22 | also want to add your e-mail
address, and then your website.
| | 01:26 | You want to add the full URL for your
website address as you can see here.
| | 01:31 | Well, you'll notice that these
fields next to them have a similar arrow.
| | 01:35 | Now we can use these arrows either to
filter, like I just did, hey, show me the
| | 01:40 | images that have this particular
quality, a red label, or this file name or
| | 01:46 | dimensions or whatever it is.
| | 01:47 | You'll notice these arrows
next to a lot of different fields.
| | 01:51 | But here what it does, if I click this,
it would actually open up my e-mail
| | 01:55 | program to start to send an e-mail
to this person, or if I click on this
| | 01:59 | Website one, it's going to go to
that URL, it's going to take me to this
| | 02:03 | particular website.
| | 02:04 | Now the advantage of doing this is you
can then get to that website, you can see
| | 02:08 | the content for whoever created that picture.
| | 02:10 | So again, you want to think about
these fields as active fields. All right!
| | 02:15 | Well, one last thing with metadata
that I want to point out and this is just
| | 02:19 | kind of a little bonus.
| | 02:20 | Let's say we're working on
captions, we talked about that before.
| | 02:24 | And so we type out a caption and let's
say we add to the caption, say something
| | 02:28 | like this, "A young man stands on the
old train bridge wearing--and I'd
| | 02:32 | spell it wrong though--weering a hat."
| | 02:34 | Now what you can do is you can
have this field active, whatever field
| | 02:38 | you're adding to for the metadata,
and then navigate to your Edit pulldown
| | 02:42 | menu and choose Spelling.
| | 02:44 | You want to choose Show Spelling and Grammar.
| | 02:47 | This will then pull up the problem.
| | 02:49 | I typed out this word incorrectly,
I misspelled this or there's a typo.
| | 02:54 | Well, here I can go ahead and click the
Correction and then I'll choose Change
| | 02:57 | and then it will update that
bit of metadata there for me.
| | 03:01 | So again, this is a little bit of a
bonus, but as you can see, it can be really
| | 03:04 | helpful, especially because metadata,
you want to have it good, you want to
| | 03:09 | have it right, because people are
going to be reading it, and if you have
| | 03:12 | something which is grammatically
wrong or there's a spelling error, it just
| | 03:16 | doesn't look professional.
| | 03:17 | So this little extra added feature here
helps us get all of those words correct
| | 03:22 | and helps us make our metadata even better.
| | Collapse this transcript |
|
|
15. Opening Images in PhotoshopExternal editing preferences| 00:00 | Lightroom is a powerful and a
professional tool and it doesn't stand by its own;
| | 00:05 | it's not an isolated
application that we just use by itself.
| | 00:09 | Rather it's part of the Photoshop family.
| | 00:12 | The official name of Lightroom
is Adobe Photoshop Lightroom.
| | 00:15 | One of the reasons why people like
Lightroom so much, including myself, is
| | 00:19 | because it's closely connected to Photoshop;
| | 00:22 | it helps create a seamless and really
fluid workflow between the two applications.
| | 00:27 | So here in this chapter, we're
going to look at how we can work with
| | 00:30 | Lightroom and Photoshop together,
starting off by setting up our external
| | 00:34 | editing preferences.
| | 00:36 | To navigate to those, you want to go
to the Lightroom pull-down menu and
| | 00:39 | then select Preferences.
| | 00:41 | Here we're going to go to
External Editing, it's the third tab.
| | 00:44 | Now this allows us to
determine what we're going to edit in.
| | 00:48 | In this case, while I'm recording this,
the latest version of Lightroom is CS5.
| | 00:52 | So, whatever your latest version is here
that'll be the default option here up top.
| | 00:57 | Now, you can choose your File Format.
| | 00:58 | You have two options here;
| | 00:59 | TIFF or PSD and TIFF is always going
to be better, especially if you're ever
| | 01:04 | going to have a layered file.
| | 01:06 | And what's interesting about this is
the Lightroom engineering team initially
| | 01:09 | wasn't even going to include PSD as
an option because TIFF is just a much
| | 01:14 | stronger and better format.
| | 01:16 | So again, we'll leave that on the
default setting. Next, Color Space;
| | 01:19 | what's interesting about Lightroom
is there isn't really a color space.
| | 01:24 | There's this really wide gamut but
the color space isn't applied until you
| | 01:29 | export a file or until you edit a file
in another application like Photoshop.
| | 01:33 | So from this Color Space dialog,
this is an important choice.
| | 01:36 | We need to decide something here.
| | 01:38 | The default is ProPhoto and the
reason that is because that is a wide,
| | 01:43 | wonderful, rich, big, broad color
space and you want to leave that default
| | 01:48 | option turned on because that's going
to give you the ability to work with the
| | 01:52 | file in the best way.
| | 01:54 | Now, if you want a smaller file size,
you could go to this Adobe RGB but most
| | 01:58 | Lightroom users have really adopted
this ProPhoto workspace. Next, Bit Depth;
| | 02:02 | we have the choice between
16 or 8 bits per channel.
| | 02:06 | Now some will argue why use 16 bits per
channel because most printers they print at 8-bit.
| | 02:12 | So it's kind of extra or
irrelevant information. I disagree.
| | 02:16 | The reason why you choose 16 bits is
because, again, you have the ability to
| | 02:22 | preserve all of these details in Lightroom.
| | 02:25 | Having more formation in a digital
file allows you to stretch or push or pull
| | 02:30 | that file, in other words, bring up
the blacks without adding extra noise or
| | 02:34 | add contrast without things kind of falling
apart or recovering highlights or whatever it is.
| | 02:39 | So by having this 16 bit here, it again
gives us the ability to really preserve
| | 02:45 | the most from Lightroom for most of
the changes we've made to our files.
| | 02:50 | Of course, this will mean a larger file size;
| | 02:52 | I'll talk about that in a second.
| | 02:54 | Resolution, we can choose any resolution here.
| | 02:57 | Again, 240, the default is great and
then a Compression of ZIP is a really good
| | 03:01 | default compression you want to leave on.
| | 03:03 | Now, some of you will be thinking okay,
gosh, if I do that, if I have these as
| | 03:08 | my preferences, this is
going to just be a gigantic file.
| | 03:12 | What if I'm just going to
kick a file out of Lightroom?
| | 03:14 | I want to work on it in Photoshop a
little bit and it's just going to be on my
| | 03:18 | blog or on a website or something.
| | 03:20 | I don't need this to be 16-bit at this high-
resolution, this high or big of a color space.
| | 03:26 | What else can I do here?
| | 03:27 | What you can do is define an
additional external editor not choosing another
| | 03:32 | application but choosing Photoshop again.
| | 03:35 | Let's go ahead and take a look at that.
| | 03:37 | Here I'll click on Choose.
| | 03:37 | What I'm going to do is go to my
Applications folder and then I'm going to
| | 03:41 | select Photoshop again here and I'll try
to find this from the list, scroll down
| | 03:45 | to that, and select Photoshop and
click on the Photoshop icon and Choose.
| | 03:51 | Now, this says hey, you've
already chosen Photoshop.
| | 03:54 | Are you sure you want to do this?
| | 03:56 | You can use this setting to
choose an editor other than Photoshop.
| | 03:59 | I'm going to say Use it Anyway.
| | 04:01 | The reason is what I could do for my
Additional External Editor is have Adobe
| | 04:06 | Photoshop again, File Format TIFF again,
but then I could have, say, a smaller
| | 04:11 | Color Space like Adobe RGB, 8-bits per
channel, Compression here, I'm going to
| | 04:16 | choose that ZIP compression as well.
| | 04:18 | Now in this case, you can see what it's
going to allow me to do is, of course,
| | 04:22 | to export a little bit lower
quality file from Lightroom.
| | 04:27 | If I'm in a hurry or maybe as these
files eventually going to go online and
| | 04:30 | it's not going to be printed or
maybe this file was pretty good from the
| | 04:33 | get-go, so I'm not too concerned about
having all of that extra information, I
| | 04:38 | don't really need all of that.
| | 04:40 | So in my own workflow, I like
having these exact two setups.
| | 04:44 | It just gives me a little extra
flexibility and I have to say the majority of
| | 04:48 | the time, you know, what I do is I
use this one and then I make any other
| | 04:52 | changes I need to in Photoshop.
| | 04:54 | But I just want to highlight that you
can kind of have this two-tiered approach.
| | 04:58 | Next thing, we want to stack this file with
the original, leave that checked on. All right!
| | 05:03 | Well, now that we've dialed in these
external editing preferences, let's take a
| | 05:07 | look at how we can start to edit our
photographs inside a Photoshop and let's do
| | 05:11 | that in the next movie.
| | Collapse this transcript |
| Editing raw photos in Photoshop| 00:00 | Learning how to develop a solid
workflow which includes working Lightroom and
| | 00:03 | then editing our photos in Photoshop is
really essential, because so often what
| | 00:08 | we can do in Lightroom is we can take
our image to about 80 or 90% completion
| | 00:14 | and then the final steps, the finishing, the
magic, well, that really happens in Photoshop.
| | 00:19 | So we need to figure out how we can work
with different file formats, how we can
| | 00:23 | open those up inside of Photoshop, and
then come back to Lightroom, and how we
| | 00:26 | can kind of make sense of this overall process.
| | 00:29 | Well, what I want to do here is take
a look at a few different file formats
| | 00:33 | which will help us kind of
deconstruct how we can best work with Lightroom
| | 00:37 | and Photoshop together.
| | 00:39 | Well, let's start off by
navigating to this folder, Becky.
| | 00:42 | Here we have a typical scenario;
| | 00:44 | we have a few Raw files.
| | 00:46 | Well, we process the files in Lightroom and
then we are ready to edit these in Photoshop.
| | 00:51 | Well, how can we do that?
| | 00:53 | Let me show you a couple of different
ways that you can access the controls
| | 00:56 | in order to do this.
| | 00:57 | First, we can go to the Photo pull-
down menu and then choose Edit In and here
| | 01:03 | we can select whatever we defined as our Presets,
remember that we did in that previous movie.
| | 01:08 | These were the Presets for the first
one, the primary which was the TIFF
| | 01:12 | file, ProPhoto, 16-bit, really big
wonderful full file or the one which was a
| | 01:18 | little bit smaller.
| | 01:19 | So again, we can choose
whichever option we want to choose here.
| | 01:23 | You'll also notice there
are some valuable shortcuts.
| | 01:26 | This is a shortcut you just have to
write down because it's going to be one that
| | 01:30 | you'll be using quite frequently.
| | 01:32 | On a Mac, it is Command+E, on Windows
that's Ctrl+E, the shortcut to Edit In Photoshop.
| | 01:38 | Alright, well how else can we access that menu?
| | 01:41 | You can also hover over your image and
right-click or Ctrl+Click, go to Edit In
| | 01:47 | and you'll see that same exact menu there.
| | 01:49 | Alright, well, because I think the
shortcut is so valuable, let's use that so we
| | 01:54 | can start to integrate it into our workflow.
| | 01:56 | We have a Raw file, let's say we've
worked on it, we're ready to go to Photoshop.
| | 02:01 | We press Command+E or Ctrl+E and as we do
that, we get this interesting warning dialog.
| | 02:07 | And this dialog is actually really important.
| | 02:10 | So let's talk about it.
| | 02:10 | It says hey you know what, the
version of Lightroom that you're running,
| | 02:14 | it's not the same as far as the Camera Raw
stuff as the version you have in Photoshop.
| | 02:18 | In other words, in my scenario, the
version of Camera Raw that I have here is
| | 02:23 | newer than the version I'm
running it with Photoshop.
| | 02:27 | The reason that is, is because that
version of Camera Raw isn't out yet for
| | 02:31 | Photoshop while I'm recording this course.
| | 02:33 | Yet in your own scenario, it might be
that the version of Camera Raw in your
| | 02:37 | version of Lightroom is more up-to-date.
| | 02:40 | It's the latest and greatest, while the
one that you have in Photoshop is older.
| | 02:44 | Well, what do you do in those scenarios?
| | 02:46 | Well, you don't click Open Anyway,
because what you're going to do is say well,
| | 02:51 | yeah, sure, I'll have this older
version of Camera Raw process the file.
| | 02:54 | No, you don't want that.
| | 02:56 | You want to select Render Using
Lightroom, you want all of the Raw processing
| | 03:01 | power of the latest and the greatest
version of Camera Raw to be applied.
| | 03:06 | So that's the option you want to
choose if you ever see this dialog.
| | 03:09 | So here I'll go ahead and
click Render Using Lightroom.
| | 03:13 | What it's going to do is it's going
to create a file for me based on my
| | 03:16 | Preference settings and then open
that file up inside of Photoshop.
| | 03:20 | Well, now that this image is open in
Photoshop, what I am going to do is
| | 03:23 | apply an adjustment.
| | 03:25 | I am going to apply a really easy
adjustment, because this is a demo file and
| | 03:30 | because this isn't about Photoshop;
| | 03:31 | it's about just how we work with
Photoshop and Lightroom and here I'm using a
| | 03:36 | Black & White conversion. Great!
| | 03:37 | Okay, let's say we're done.
| | 03:39 | In order to save and close this file,
what we're going to do is go ahead and
| | 03:42 | navigate to File, we'll choose Save,
and then next we'll choose File and Close.
| | 03:48 | That will then take us back to
Lightroom and let's go ahead and take a look at
| | 03:51 | what we have in Lightroom.
| | 03:53 | Well, what we have is the original Raw
file here and then, we also have the TIFF
| | 03:58 | file that we created inside of Photoshop.
| | 04:01 | The great thing about this is these
two files are right next to each other,
| | 04:04 | they're in the same folder, the
same location and you can see that this
| | 04:08 | workflow is really seamless. It's really easy.
| | 04:11 | And in this case what we've focused
in on is working with Raw files, taking
| | 04:15 | those Raw files, and then editing
them in Photoshop and then coming back to
| | 04:19 | Lightroom and again, we're
off and kind of on our way.
| | 04:22 | Well, there is actually
more to talk about though.
| | 04:25 | There's more to talk about in regards
to well what about those scenarios where
| | 04:28 | we don't start with a Raw file.
| | 04:30 | What if we start with a PSD or a TIFF or a JPEG?
| | 04:35 | Let's take a look at that and how we
can work with those file formats inside of
| | 04:38 | Lightroom and Photoshop and
let's do that in the next movie.
| | Collapse this transcript |
| Editing an original TIFF, PSD, or JPG file in Photoshop| 00:00 | Typically in Lightroom, we
start off by working with RAW files.
| | 00:04 | Yet, we also work with other file
formats like TIFF or PSD or JPEG.
| | 00:09 | Now, what're some of the considerations
when editing those files in Photoshop?
| | 00:13 | How can we have a tight and seamless
workflow when we have these different file formats?
| | 00:17 | Well, that's exactly what
we're going to talk about here.
| | 00:21 | Now, this topic can be a little bit confusing.
| | 00:23 | So what I'm going to do is use a few
different images and kind of simulate
| | 00:27 | walking through various steps.
| | 00:30 | What this will do is as we edit
these files in Photoshop and come back to
| | 00:34 | Lightroom, my hope is
that this will make it clear.
| | 00:37 | It'll show us why we might choose some
of these different options or settings.
| | 00:41 | Alright, let's start off with this image here.
| | 00:44 | It's titled sara.tif.
| | 00:45 | Now, this is a file that I worked on in
another Photoshop Training Course in the
| | 00:49 | lynda.com Training Library.
| | 00:51 | This file now has two layers in it.
| | 00:53 | It's a layered TIFF file.
| | 00:55 | What I want to do is open this file up
in Photoshop, because I want to apply
| | 00:59 | an adjustment there.
| | 01:01 | Well, how can I do that?
| | 01:02 | We can use our shortcut key.
| | 01:04 | It's Command+E on Mac, Ctrl+E on Windows.
| | 01:08 | This will open up this dialog.
| | 01:10 | It's asking me, well, how do I
want to edit this in Photoshop?
| | 01:14 | Let's look at all three options, but
start off by looking at Edit Original File.
| | 01:20 | Well, if I want to edit the original file, I'll click Edit, it will open this file up.
| | 01:24 | Here I am going to press F to go to
Full Screen View mode, and then just
| | 01:27 | double-click a little bit, so we can
see this image a little bit more clearly.
| | 01:31 | Here we have the full layered file.
| | 01:33 | Here are just two layers of background layer
and then some sharpening applied to the top layer.
| | 01:37 | Well, let's say that I want
to apply another adjustment,
| | 01:41 | a Black & White Conversion.
| | 01:43 | I'll click on my Black & White icon
here in the Adjustment panel and maybe just
| | 01:47 | brighten up the reds.
| | 01:49 | Now, my point here isn't to teach
Photoshop but just to kind of simulate, making
| | 01:53 | some sort of an adjustment.
| | 01:54 | I'm choosing Black & White
because it's really easy to see.
| | 01:58 | Well, I'm ready to save and close this file.
| | 02:01 | So I'm done with Photoshop,
I go to File, I choose Save.
| | 02:05 | That will then save the file, and
then I choose File and then Close.
| | 02:08 | Well, if I go back to Lightroom here,
we can see that now, this original file
| | 02:14 | has been modified and
Lightroom now knows it's been modified.
| | 02:18 | That's what's great about
Lightroom and Photoshop. They communicate.
| | 02:21 | They get along.
| | 02:23 | Yet, let's say I decide, you know
what, I don't like the Black & White.
| | 02:26 | I really liked it better in
color. Well, no big deal.
| | 02:29 | We simply reopen the file
the same way we did previously.
| | 02:33 | We press Command or Ctrl+E, edit
that original file, we'll click Edit.
| | 02:37 | This will then open up the file here.
| | 02:40 | I'm going to trash the Black & White
layer, I don't like that, and then I'll go
| | 02:44 | ahead and save and close this file,
File > Save, and then File > Close.
| | 02:51 | Then again, we go back to Lightroom
and we can see Lightroom now is aware of
| | 02:55 | those changes that we made in Photoshop.
| | 02:57 | So here, all I'm trying to do is
kind of illustrate this idea between how
| | 03:01 | Photoshop, and Lightroom communicate together
and also how we can choose the original file.
| | 03:07 | Well, why would we choose that?
| | 03:08 | Well, we would choose that if we haven't made
any changes to the file inside of Lightroom.
| | 03:14 | We just have a file that is a TIFF file.
| | 03:16 | We haven't touched it with Lightroom,
or Lightroom controls and we just want to
| | 03:20 | access that in Photoshop.
| | 03:22 | Okay, well that's easy enough.
| | 03:24 | Yet, what about the scenario say where
you have a file that's a TIFF, PSD, or
| | 03:28 | JPEG, and you've made
changes to it in Lightroom?
| | 03:32 | Well, what then are some of
the options or considerations?
| | 03:35 | Well, let's take a look at that and
those scenarios in the next movie.
| | Collapse this transcript |
| Editing a modified TIFF, PSD, or JPG file in Photoshop| 00:00 | Here we are going to take a look at
what happens when we modify a PSD, TIFF or
| | 00:03 | JPEG file, what are some of the
considerations in regards to our Edit In
| | 00:08 | Photoshop options when
working with files like that.
| | 00:11 | For example, here I have a PSD file.
| | 00:13 | Now this could be PSD, JPEG or TIFF,
but just for the sake of a demo, I've
| | 00:17 | chosen this file, it's in the subfolder, Chris.
| | 00:20 | What I am going to do is navigate to my
QuickDevelop settings and I go to Color
| | 00:24 | Presets and select one of
these Cross Processing presets.
| | 00:29 | Now this is a little bit over the top,
but I think it will illustrate kind of
| | 00:32 | how we can then process or work on these files.
| | 00:35 | Again, it doesn't matter the file format;
| | 00:37 | we can use the Lightroom controls
in order to change the way they look.
| | 00:42 | What happens is these adjustments, they
aren't really part of the file until we
| | 00:47 | export or edit the file in another application.
| | 00:50 | So let's say we're ready to
edit this one in Photoshop.
| | 00:53 | Well, we'll press our shortcut, we've
learned that before, its Command+E or
| | 00:57 | Ctrl+E in order to select Edit In
Photoshop or we can choose Photo > Edit In and
| | 01:03 | then Edit In Photoshop.
| | 01:05 | This will then open up our dialog.
| | 01:07 | We've seen this before.
| | 01:09 | Well, let's look at the three different
options, starting off with Edit Original.
| | 01:13 | If I select Edit Original, what's
going to happen is it will open up the file
| | 01:18 | without any Lightroom adjustments applied to it.
| | 01:20 | Interesting, it strips off
all of those adjustments.
| | 01:24 | Let's close this file.
| | 01:25 | Let's go back to Lightroom here and
let's try our shortcut, Command+E or Ctrl+E.
| | 01:31 | What about Edit a Copy?
| | 01:33 | What this would do is it would
actually duplicate the file, it would create
| | 01:37 | another PSD document but the
Lightroom adjustments wouldn't be visible.
| | 01:42 | This document would become
part of our library over here.
| | 01:45 | Now why would you want to do that?
| | 01:47 | Well, you could do that if you want
just, say, another version of the file
| | 01:50 | without all those Lightroom adjustments on it.
| | 01:53 | Let's see what this looks
like. We'll click Edit.
| | 01:56 | Once this opens up in Photoshop, we're
going to see that we won't have any of
| | 01:59 | those adjustments here.
| | 02:00 | We'll go ahead and close it;
| | 02:02 | we just have a copy of the file again.
| | 02:04 | None of the adjustments we applied in Lightroom.
| | 02:06 | Well, let's look at the third scenario,
| | 02:08 | Command+E or Ctrl+E in
order to Edit In Photoshop.
| | 02:11 | Here we can Edit a Copy
With a Lightroom Adjustments.
| | 02:15 | Now this is the only option where all
of our work in Lightroom will be rendered
| | 02:20 | or baked or included or be part of this file.
| | 02:22 | In other words, if we select this
option, it will render all of those
| | 02:26 | adjustments into the document
before it even gets to Photoshop.
| | 02:30 | So this is the only way to see all that
we've done in Lightroom in the file once
| | 02:34 | we get to Photoshop.
| | 02:35 | So here, let's go ahead and click Edit.
| | 02:38 | Now it opens up this
dialog, what do we want to do?
| | 02:40 | Who do we want to have render this file?
| | 02:43 | Do we want to have an older version of
Camera RAW that's kind of outdated in
| | 02:47 | Photoshop do the rendering?
| | 02:49 | Well, always, of course, you want to have the
latest version of Camera Raw do the rendering.
| | 02:53 | So we'll click on Render Using Lightroom.
| | 02:56 | This will then create
another version of the document.
| | 02:59 | You can see it's generated this file,
brought it into Lightroom and then just to
| | 03:04 | make something different here, let's
go to Hue/Saturation, for instance, and
| | 03:08 | let's just change may be our Hue.
| | 03:10 | Let's do something really dramatic here.
| | 03:12 | How about -- actually, I'll choose Colorize.
| | 03:14 | I am just trying to look at something
that will make this file look different in
| | 03:17 | our library catalog down here.
| | 03:19 | And the let's go ahead and close the
file and save it, while we close it and
| | 03:23 | we'll choose all these TIFF
options. Sure that's fun.
| | 03:26 | Now back in Lightroom, what we can see
is we'll have this file, and this was the
| | 03:31 | one that allowed us to have all of
those settings applied to it and then it
| | 03:36 | brought open in Photoshop and then
we could kind of take it even further.
| | 03:41 | In other words, if we want to use or
take advantage of all that we've done
| | 03:45 | inside of Lightroom, what we need to
do there is to choose this third or top
| | 03:49 | option, Edit a Copy with all
these Lightroom adjustments applied.
| | 03:54 | Now keep in mind all of these settings,
well, they are relevant, whether we're
| | 03:57 | working with a PSD, a TIFF, or
JPEG, it doesn't really matter.
| | 04:01 | And my hope is by kind of breaking
this down that this process of working
| | 04:05 | between Lightroom and Photoshop, well,
my hope is that it will become a little
| | 04:09 | bit more clear or easy so that you can
start to figure out well, what option is
| | 04:13 | going to be best for me.
| | 04:15 | Let's recap a little bit.
| | 04:16 | Well, you may want to choose Edit Original;
| | 04:19 | if you don't want to see any of the
Lightroom Adjustments or maybe you haven't
| | 04:22 | made any, that's a good option.
| | 04:24 | Edit a Copy if perhaps you just want
another copy of the file without Lightroom
| | 04:29 | Adjustments to kind of compare or
contrast or have some way to look at what
| | 04:32 | you've done. Or you can, of course,
choose this third option if you want to
| | 04:37 | have all that you've done in Lightroom
included, embedded, rendered as part of that file.
| | Collapse this transcript |
| Opening an image as a Smart Object in Photoshop| 00:00 | By this point everyone knows that RAW
processing, it's so wonderful and powerful
| | 00:03 | because it gives us flexibility.
| | 00:06 | In other words, we can
make nondestructive edits.
| | 00:10 | We can change something, and then
always go back and change it back.
| | 00:13 | So we have this built-in flexibility.
| | 00:15 | It also allows us to be really fast.
| | 00:18 | There isn't any rendering or saving.
| | 00:20 | Well, one of the things that's been
introduced in this whole concept of RAW
| | 00:23 | processing is what are called Smart Objects.
| | 00:26 | Smart Objects maintain the
link to that original flexibility.
| | 00:31 | In order to have that flexibility when
we go to Photoshop say from Lightroom, we
| | 00:35 | can edit a photograph as a Smart Object,
and I want to look at that process.
| | 00:40 | So let's say we have this picture here
and we decide to edit this one in Photoshop.
| | 00:44 | We can access this by going to our
Photo pull-down menu, Edit in, and then we
| | 00:49 | have an option for Open as
Smart Object in Photoshop.
| | 00:52 | What this will do is it will keep all of
this raw data as part of this Photoshop
| | 00:58 | document, and let me show you what I mean.
| | 01:00 | Once this file opens up in Photoshop,
you will notice in the Layers panel over
| | 01:05 | here, we have an icon which
is a little bit different.
| | 01:08 | This is a Smart Object icon here.
| | 01:10 | If you are not familiar with Smart
Objects at all in Photoshop, it may be
| | 01:13 | helpful to watch a movie in the Lynda.com
Training Library on Smart Objects.
| | 01:18 | For now though, I just want
to point out how this works.
| | 01:21 | For example, let's say that I decide
you know what, I really wish that in
| | 01:25 | Lightroom, or in Camera RAW so to speak,
I had made some sort of an adjustment,
| | 01:30 | may be added Contrast or
Color Saturation or whatever.
| | 01:33 | Well, what you can do now in Photoshop
is you can't go back to Lightroom, and
| | 01:38 | all the Develop controls there, but
you can open up the Camera RAW controls
| | 01:43 | inside of Adobe Camera RAW.
| | 01:45 | To do that, we just double-click this
little icon here in the Layers Panel and
| | 01:48 | it opens up Camera RAW whatever version we have.
| | 01:51 | In this case, I could go ahead and make
my Contrast and maybe Color Saturation
| | 01:55 | adjustments or whatever it is in order
to kind of boost this image up, and give
| | 01:59 | it a little bit more of a kick
in regards to its look and feel.
| | 02:02 | Here, we have that preview;
| | 02:04 | before, and then after.
| | 02:06 | So again, anything we want to
do in Camera RAW, we can access.
| | 02:09 | We can go ahead and click OK, and apply those.
| | 02:12 | It's going to prepare those Smart
Object controls to be visible here in this
| | 02:16 | dialog, and there they are.
| | 02:18 | If we don't like them, well again, we
double-click this icon, we go back to this
| | 02:22 | Camera RAW window, we make
another adjustment, whatever that is.
| | 02:25 | Again, just really drastically trying to
have some sort of a change here, as you
| | 02:30 | can see making this change, click OK,
and then again, it's going to redraw this
| | 02:35 | image with those new set of instructions.
| | 02:38 | Now, that's part of this file,
and this stays part of the file.
| | 02:43 | Even if we Save and Close it,
it will become part of this file.
| | 02:47 | Let's take a look at that process just to
kind of complete this overall workflow loop.
| | 02:52 | So here I will go ahead
and choose File and Save.
| | 02:55 | Then, we will choose File and
Close and now back in Lightroom.
| | 03:00 | Well, here in Lightroom, we can see
we have this file, it's a TIF file.
| | 03:05 | But, it's a TIF file with a
Smart Object inside of it.
| | 03:08 | So if we want to reopen the file in
Photoshop, we already know how to do that, right?
| | 03:12 | You press Command+E or Ctrl+E. That
gives us the ability to edit this file.
| | 03:18 | What I want to do is edit the original file.
| | 03:20 | So I will click Edit.
| | 03:22 | This will open up the original TIF file
here inside of Photoshop and once this
| | 03:27 | one opens up, well notice, we still
have that icon that we've had before.
| | 03:31 | We can double-click it, say rather
than a black-and-white conversion, we want
| | 03:35 | color, and then click OK, and you can
see that will then update this file.
| | 03:40 | So again, it just kind of has this
infinite loop of flexibility built into the file.
| | 03:45 | So some of you maybe thinking,
all right, this is great!
| | 03:48 | Why not do this all the time
because you can always make changes.
| | 03:53 | Well, of course, flexibility like
this comes at somewhat of a price, and
| | 03:57 | the price is file size.
| | 03:59 | So when making Smart Objects,
it increases your file size.
| | 04:03 | So what you have to do is just
kind of decide what is the trade-off.
| | 04:05 | Is this a good way to have added
flexibility, and for some, it definitely is.
| | 04:09 | For other images, perhaps not so much.
| | 04:12 | But again, now you know how this
works, so that you can start to kind of
| | 04:15 | evaluate, is this something that I want to do?
| | 04:18 | Will I want to have this
extra added flexibility?
| | 04:21 | And if it is, all you need to do is
to choose to open that file as a Smart
| | 04:25 | Object in Photoshop, and it will remain
connected to those Camera RAW controls,
| | 04:30 | and you will be able to
make those changes as needed.
| | Collapse this transcript |
| Including multiple images in Photoshop as layers| 00:00 | In many occasions, opening up one
image at a time, well that will be enough.
| | 00:04 | Yet, there will be those other
situations where it would really be nice if you
| | 00:07 | could open up say two, three, four
images at a time and have those all in one
| | 00:13 | Photoshop document as different layers.
| | 00:15 | What would be an occasion for that?
| | 00:18 | Well, maybe you are working on a
composite, perhaps you have a group photograph
| | 00:22 | and you need to composite an
expression from one image to another in order to
| | 00:25 | finish that image off. Or maybe it's
a creative composite, or maybe you are
| | 00:29 | compositing based on exposure and you
want to combine two different exposures
| | 00:33 | together in Photoshop. Or maybe like in
this scenario, you have one image here
| | 00:37 | that you like, and then another that
you like, and it would be kind of fun to
| | 00:41 | put these side-by-side.
| | 00:43 | You know how you can do that in Lightroom?
You click on one, you hold down Command
| | 00:47 | or Ctrl+Click on the other image and then
you go to say this Compare or Survey view.
| | 00:54 | Now, when you go to that view, you get
to see the images side-by-side, and it's
| | 00:58 | just kind of interesting.
| | 01:00 | And you think to yourself, yeah, this
would be fun as a diptych, which means
| | 01:03 | having two images next to each other.
| | 01:06 | What I want to do is I want to arrange
those two images side-by-side in Photoshop.
| | 01:11 | Keep in mind of course, you could arrange
three, or four, five or whatever it is as well.
| | 01:16 | I am just going to do two for demo purposes.
| | 01:18 | Well, in order to open these files as
layers in Photoshop, you can right-click
| | 01:23 | or Ctrl+Click on top of one of the images.
| | 01:26 | We could do that here in the Survey or Compare
view or in the Filmstrip or in the Grid view.
| | 01:33 | All that you do is right-click or Ctrl+
Click, choose Edit In, and then navigate
| | 01:38 | to the bottom of this menu over here
which is Open as Layers in Photoshop.
| | 01:43 | In this case, we will go ahead and open this up.
| | 01:46 | This says, we will need
some Camera RAW plug-in. Fine!
| | 01:49 | We will open these anyway.
| | 01:50 | We know Photoshop is set up with that
plug-in, and now we have these files open
| | 01:55 | inside of this document. Let's take a look.
| | 01:57 | Well, here I am going to go ahead and
expand this a little bit just to cover up
| | 02:01 | more and we have two different layers.
| | 02:03 | I am going to reorder my layers for a moment.
| | 02:06 | You will notice that I have one image which is
much smaller than the other. Now, why is that?
| | 02:10 | Well, why that is, is these
particular JPEGs were just different sizes.
| | 02:15 | So the reason why I want to use
these files was to illustrate that.
| | 02:18 | If you have various sized documents, well
it's going to maintain whatever size they are.
| | 02:24 | If they are RAW files, of course, it
will bring them in their native RAW file
| | 02:27 | size. If they are JPEGs or crop files
like you can see here, well it's going to
| | 02:31 | bring them in whatever size they are
and just maintain that file size integrity,
| | 02:36 | and that's a good thing.
| | 02:36 | Well, in order to do a layout here,
what I might do is click on the bottom
| | 02:40 | image, and I will choose my Move tool.
| | 02:43 | I am going to go to Edit, and
then select Free Transform here.
| | 02:46 | I am just going to free transform this
so that these images are the same height.
| | 02:51 | Now again, I'm not trying to teach
Photoshop but rather kind of go through a
| | 02:54 | workflow of arranging things a little bit.
| | 02:56 | I will drag this file off to the side here.
| | 02:59 | Now that, that's off to the side, what I
really need to do is to open up some canvas space.
| | 03:05 | I can't see all of this image.
| | 03:07 | Well, in order to do that, we can go
to Image, and then choose Reveal All.
| | 03:13 | That will extend the Photoshop
canvas to include both pictures. Perfect!
| | 03:18 | We can just use a Crop tool.
| | 03:19 | Select the Crop tool and
click-and-drag over this.
| | 03:23 | Now, if all of this Photoshop work is a
little bit distracting or overwhelming
| | 03:27 | or you don't know how to
do this, well, don't worry.
| | 03:30 | Again, I'm not trying to teach
Photoshop here, but just illustrate how we could
| | 03:34 | start to work with these files
when we bring them into Photoshop.
| | 03:37 | You could do anything that you
know how to do here in Photoshop.
| | 03:40 | In this case, I am just
arranging two things side-by-side.
| | 03:44 | Well, next of course, I need to save this out.
| | 03:47 | Well, if I go to save
this file, what will happen?
| | 03:50 | File, I will choose Save.
| | 03:52 | Then, we will say okay, we saved it.
| | 03:54 | It's now a TIF file because we have layers
in it and then I'll go ahead and close it.
| | 03:58 | Back inside of Lightroom, this document,
this two images side-by-side, well it's
| | 04:03 | now part of my Lightroom catalog.
| | 04:06 | That's a great thing of course about
Lightroom and Photoshop as they communicate
| | 04:10 | well together, they get along.
| | 04:11 | The work we do in one application is
remembered, or taken note of, or included in
| | 04:16 | the other application, and then we can be
on our way in order to continue to work
| | 04:21 | in whatever way we need to.
| | 04:22 | As you can see from this process, it
opens up this new opportunity to open up
| | 04:27 | two or more images from Lightroom into
a single-layered Photoshop document in
| | 04:33 | order to make corrections or creative
enhancements or unique layouts like we did here.
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|
|
16. Exporting, Emailing, and Publishing PhotographsExporting photographs to a hard drive, CD, or DVD| 00:00 | Exporting photographs is perhaps one of
the more important and powerful features
| | 00:04 | inside of Lightroom and here's why.
| | 00:06 | Typically, in Lightroom, we're working
with a lot of photographs and we need to
| | 00:10 | figure out a way to somehow get these
images out of Lightroom and to get them
| | 00:13 | out of Lightroom without really
interrupting our overall workflow.
| | 00:17 | This is where the Export dialog really
comes into play and Lightroom's workflow
| | 00:21 | here is great because it can do all
of this kind of behind-the-scenes.
| | 00:25 | Well, let's say that we want
to export these photographs.
| | 00:28 | I'll press the G key to go to the Grid view.
| | 00:30 | You can see all these pictures.
| | 00:31 | There were pictures of some family
friends captured down at a local beach.
| | 00:35 | I want to export these
photos off from Lightroom.
| | 00:38 | Well, the first step will be
to select all the photographs.
| | 00:41 | You can click on one and then press Command+A,
or Ctrl+A in order to select all of them.
| | 00:46 | Next step will be to navigate to the File
pull-down menu, and then to choose Export.
| | 00:52 | This will open up our Export dialog.
| | 00:54 | Now, the first thing you'll notice in
the Export dialog is we have a decision.
| | 00:58 | Where do we want to export these files to?
| | 01:01 | We have the ability to export them to
a folder on hard-drive. That could be
| | 01:05 | good. We could also prepare them for
email or export them to be burned on a CD
| | 01:10 | or a DVD, or export them to
Adobe's new subscription service.
| | 01:15 | Well, here what I want to do
is export them to a hard-drive.
| | 01:18 | So let's take a look at these options.
| | 01:20 | In this case, I'll export them to the
hard-drive, to a folder say on my desktop.
| | 01:24 | I will put them in a subfolder.
| | 01:25 | I am just going to call this "beach_family."
| | 01:28 | Next, I am going to go down
to my File Naming options.
| | 01:31 | Is there anything to rename here?
| | 01:32 | No, filename is pretty good.
| | 01:34 | No Video files, so we'll
move down to our File Settings.
| | 01:38 | In File Settings, I can choose a file format.
| | 01:42 | Let's say that this family just wants
these files in order to post them on Facebook.
| | 01:46 | Well, in this case, I'll choose JPEG.
| | 01:48 | I'll take my Quality setting down a little bit.
| | 01:50 | Right around 70 should be pretty good.
| | 01:53 | Next, Color Space, I want
to go do sRGB Color Space.
| | 01:57 | Now, I can resize these files;
| | 01:59 | resizing them to fit a Width
and a Height or maybe a Long Edge.
| | 02:02 | If they are going to be viewed online,
500, 600, 700 pixels, right around there
| | 02:07 | will be pretty good.
| | 02:08 | Well, what about Output Sharpening?
| | 02:10 | Well typically, whether you're
sharpening for Screen or for a Paper type, the
| | 02:15 | amount of Standard is going to work best.
| | 02:17 | So typically, you want to
choose that option there.
| | 02:20 | Now, with my Metadata, I'll go
ahead and choose my Copyright and
| | 02:23 | Contact Information.
| | 02:25 | No Watermarking needed here.
| | 02:26 | Well, after this is done, Show these
pictures in the Finder or the Explorer
| | 02:30 | Window, so that I can see where they
are, so that I can then copy them to a
| | 02:34 | hard-drive or something like that. Okay.
| | 02:36 | Well, let's go ahead and click Export.
| | 02:37 | What's great about this is this is
all going to happen behind-the-scenes.
| | 02:41 | In other words, I can click on the
images, I can continue working, I can do
| | 02:44 | whatever I need to do while all of
that takes place in the background.
| | 02:48 | Once it's complete, in this case,
it's opening up this folder of images.
| | 02:52 | Now, here I could copy these to a
thumb drive or to a hard-drive, so that I
| | 02:56 | could deliver these images to the
client or a friend or whatever it is.
| | 03:01 | I can also do other types of exporting.
| | 03:04 | In this case, it was just to a hard-drive.
| | 03:06 | Well, what if I want to
burn these files to a disk?
| | 03:10 | The process is nearly identical.
| | 03:12 | Let me show you that briefly.
| | 03:13 | I'll go over here to Lightroom,
File menu, and then choose Export.
| | 03:18 | In this case, I'll export to CD or DVD.
| | 03:22 | Now, it's going to ask me a few things;
| | 03:24 | File Naming, File Settings.
| | 03:26 | I'll leave all this the same,
again no need to change any of that,
| | 03:30 | if I'm going to have the same
output at least for the client.
| | 03:33 | Again, you are going to want to choose the
options which are appropriate for your workflow.
| | 03:37 | If I'm delivering files to be printed
in a publication, well, I am going to
| | 03:40 | choose a different file format than
if they are going to be displayed on
| | 03:43 | Facebook or on a blog or
something along those lines.
| | 03:47 | So just choose the settings that fit your needs.
| | 03:50 | Next here, we'll go ahead and click
Export, and what this is going to do is
| | 03:53 | prepare these files and then once the
files are exported, it's going to queue up
| | 03:58 | the dialog which allows me to
burn the disk, whether a CD or a DVD.
| | 04:02 | Now, if I really wanted to do this, I
would insert a disk and then I would
| | 04:06 | simply click Burn and
that process would be done.
| | 04:09 | So as you can see, this
really is quite unintrusive.
| | 04:13 | In other words, it doesn't really
interrupt your overall workflow.
| | 04:16 | You can have all of this kind of take
place without really having to think
| | 04:19 | about it very much.
| | 04:21 | Also, while it's preparing those files,
especially if it's a huge folder of RAW
| | 04:25 | files, it's going to take a while,
but all of that processing happens
| | 04:29 | behind-the-scenes, so you can just
keep working in Lightroom and keep doing
| | 04:33 | what you need to do. All right!
| | 04:34 | Well, I am not going to burn a disc here.
| | 04:36 | So I'll go ahead and click Cancel and
let's continue to talk a little bit more
| | 04:39 | about exporting and let's do
that in the next few movies.
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| Publishing to a folder| 00:00 | Here we are going to interrupt our
conversation about exporting to briefly
| | 00:03 | talk about publishing.
| | 00:05 | Now publishing is just
another form of exporting.
| | 00:08 | The reason why I want to talk about
this here is we can do the same exact thing
| | 00:11 | that we've done with exporting with publishing,
| | 00:14 | it just has a little bit of
a different built-in memory.
| | 00:17 | Let me show you how this workflow works.
| | 00:19 | What you can do is go to your Publish
Services panel on the left-hand side in
| | 00:23 | the Library module and click on Set Up.
| | 00:26 | This will open up the
Lightroom Publishing Manager dialog.
| | 00:29 | Now what I'm going to do is go
ahead and just give this a name.
| | 00:32 | I will give this a name CO, my initials
and I'm going to call this Desktop and
| | 00:36 | then jpg (CO - Desktop - JPG).
| | 00:38 | Again I want to export or publish files
that are going to my desktop in a folder
| | 00:42 | called JPEG and I want these to
be full res JPEG files let's say.
| | 00:47 | Well here I will choose the
Desktop I will put them in a subfolder.
| | 00:50 | Again I'm just going to name this JPG.
| | 00:51 | Well how do I want to rename the files?
| | 00:54 | I'll keep them as is.
| | 00:55 | Do I want to Include Video Files?
| | 00:57 | In this case, I don't, I am just kind of
working with images so I am going to check that off.
| | 01:01 | File Settings, I can choose my JPEG and Quality;
| | 01:04 | crank that all the way up.
| | 01:06 | Choose the Color Space of Adobe RGB (1998).
| | 01:10 | No resizing, Output Sharpening, I am going
to Output Sharpen for Matte Paper on Standard.
| | 01:16 | For Metadata, I will change that to my
Copyright & Contact Info, Watermarking no
| | 01:21 | need for that and then simply click Save.
| | 01:24 | So again what that did was it set up
these settings which looked a lot like
| | 01:28 | my Export settings.
| | 01:30 | And what I can then do is I can
click and drag an image to this export or
| | 01:34 | Publish Services settings that I've defined.
| | 01:37 | And I could also for that matter,
select all of these images by pressing
| | 01:41 | Command+A or Ctrl+A, and then
dragging these to this location.
| | 01:46 | I can go to different folders if I have
other images, like these here that I want
| | 01:50 | to bring in or publish out, I
can drag those there as well.
| | 01:54 | In other words, Publish Services, it
allows me to kind of target files in
| | 01:58 | an interesting way.
| | 01:59 | Rather than having to select them and
going to File > Export, I can just kind of
| | 02:03 | tuck them away over there.
| | 02:05 | It's almost like they are in a folder
or in a to do box, and then when I'm
| | 02:09 | ready to publish those files, well I
can just click on those images, in this
| | 02:13 | case these 28 and I can click one of the
Publish button, this one here or this one up top.
| | 02:19 | And what will happen when I do this,
is these files will then be published or
| | 02:24 | exported and they'll be
sent to this particular folder.
| | 02:27 | And here you can see it's just showing
me all the files that have been published
| | 02:31 | and that they are in that location.
| | 02:34 | Now if I want to pull up that location,
I can go ahead and exit out of Lightroom
| | 02:37 | for a moment, see if we can find that
folder, close that window there and bring
| | 02:42 | this folder over for a second.
| | 02:44 | And here we can see if we open this up,
we now have all of these files here.
| | 02:48 | And these are different files right.
| | 02:50 | Some of them were the files from the
beach_family folder, others from this
| | 02:54 | Melissa folder, and they have
different filenames and whatnot.
| | 02:58 | And so you can see you can do here is
you can export files out of Lightroom by
| | 03:02 | way of this Publish Service panel.
| | 03:05 | So in a sense, publishing and
exporting well, it's pretty similar.
| | 03:08 | They're two different ways
to do very similar things.
| | 03:11 | Well why would you want to use Publish Services?
| | 03:14 | Well like I said, what you can do is
simply tuck files away in there and then
| | 03:19 | publish kind of when you're ready.
| | 03:21 | And this is a nice way
also to keep track of things.
| | 03:24 | For example, let's go to this Travel folder.
| | 03:26 | I'm going to go to the Travel folder
and drag a few more images into this
| | 03:30 | Publish Services location.
| | 03:32 | Now when I do that and I click on
this, these two areas are divided up.
| | 03:36 | New Photos need to be
published these ones which already are.
| | 03:40 | So why use Publish Services?
| | 03:41 | A different way to do the same thing,
but it also has the built-in kind of
| | 03:45 | memory of remembering what
you've done or what you haven't done.
| | 03:49 | Have I already sent that file out?
| | 03:52 | I have already exported it, well here;
| | 03:53 | it shows me yeah that one has already gone out.
| | 03:56 | Or these three haven't, I will go
ahead and publish those off and those are
| | 03:59 | now part of this Publish photos folder
and also they are on the desktop as well.
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| Using exporting presets| 00:00 | Let's take a look at how we can speed
up our overall exporting workflow with a
| | 00:04 | couple of different techniques.
| | 00:05 | First we'll explore how we can use the
settings that we used previously in order
| | 00:09 | to take advantage of those.
| | 00:11 | We'll also take a look
at how we can use Presets.
| | 00:13 | Well for starters let's say
we want to export this image.
| | 00:16 | If we go to File pull-down menu and
then choose Export, what you'll notice is
| | 00:21 | that in the dialog it will remember
the last settings that you used, whatever
| | 00:26 | they were, in this case exporting to a CD/DVD.
| | 00:29 | Well rather than going to this menu if
you know you want to use the same exact
| | 00:34 | settings as before, well, click Cancel
here and you just go a little bit further
| | 00:38 | down the menu, File > Export with Previous.
| | 00:42 | In other words export with the previous
settings whatever those were and this is
| | 00:46 | actually really helpful because so
often when you're exporting files you're
| | 00:50 | doing kind of the same thing you just
did, no need to redial in all of
| | 00:54 | those settings and do it all over again, right.
| | 00:56 | We just choose Export with Previous,
this will then prepare this file to be
| | 01:00 | burned to a disk, save this file out and
then eventually open up that dialog, so
| | 01:04 | that we could burn this file to a CD or DVD.
| | 01:07 | Alright well, I don't want to do that with
this file, so I'll go ahead and hit Cancel.
| | 01:12 | We can also do something else.
| | 01:13 | Let's choose another image.
| | 01:15 | Let's say we want to export this one.
| | 01:16 | We can go to the File pull-down menu, you'll
notice you have presets; Export with a Preset.
| | 01:23 | Now, these are the
Lightroom preinstalled presets.
| | 01:25 | We could choose one of those options
or what we could do is go to Export and
| | 01:31 | here we could then
create one of our own presets.
| | 01:34 | Let's say I want to burn full-size JPEG's.
| | 01:37 | If I click on that, by default it
takes it to a CD or DVD, I don't want that.
| | 01:42 | I want a hard drive, so I'm
going to select Hard Drive.
| | 01:43 | Next what I'm going to do is I'm going
to choose a specific folder, perhaps one
| | 01:48 | on my Desktop and I'll just call this one JPEG.
| | 01:51 | Next, not going to rename the file there but
for my File Settings I want a Quality of 100.
| | 01:57 | For the Color Space I'll use Adobe RGB (1998).
| | 02:01 | No Resizing, by default if you don't
resize it'll kick out the full-size image.
| | 02:07 | Output Sharpening, well this one's
going to be for a print, so I'll choose a
| | 02:10 | Matte Paper at Standard and then I
can choose Metadata if that's relevant.
| | 02:15 | After this is done, I'll go
ahead and choose Show in Finder.
| | 02:19 | Now in this case, I kind of have
these generic settings, let's look at
| | 02:23 | them, here they are.
| | 02:24 | I'm going to save it to a folder called JPEG.
| | 02:28 | We have File Setting, just full-size JPEG,
no Image Resizing, Standard amount of
| | 02:32 | Sharpening, and then show this in Finder.
| | 02:35 | Well it'd be nice of course if I
could save this as just kind of my default
| | 02:39 | export to my hard drive, my desktop,
full res JPEG, because you need to do that
| | 02:43 | quite often, a client needs the full res JPEG.
| | 02:47 | It'd much better to have a preset
dialed-in and set up rather than having to
| | 02:50 | do this every time.
| | 02:51 | So here we'll just click Add and
I'll go ahead and just call this
| | 02:53 | one JPEG-Full-Size.
| | 02:54 | I'll go ahead and click Create.
| | 03:00 | Now to use this we could simply click on Export.
| | 03:04 | The great thing about this now is
once this is set up we can choose another
| | 03:08 | image even before the export is done
and go to File and then choose Export with
| | 03:12 | Preset and then select that JPEG-Full-
Size one of the presets we just created.
| | 03:17 | This will then take place in the
background and there you can see we have
| | 03:20 | that, both of those files in that folder, full-
res, full-size JPEG's without a lot of effort.
| | 03:26 | Alright just a couple more things to
show you here, one is we can also access
| | 03:30 | the Export menu by clicking on this button here.
| | 03:33 | This opens up the same exact menu
that you get to by going to File > Export.
| | 03:38 | Then the last thing I want to point out
is that sometimes if you want to export
| | 03:41 | the image just as it is out of
Lightroom, you can kind of cheat, so to speak.
| | 03:47 | Check this out, I'll press F2 to exit
full screen mode, press it multiple times
| | 03:51 | until I'm out of that mode.
| | 03:53 | I'm just going to drag this over to the left.
| | 03:55 | If I want to take this DNG file out of
Lightroom, export it out of Lightroom, I
| | 04:00 | can also simply click on it, drag and
drop and what that will do is it will then
| | 04:05 | copy that file out of Lightroom.
| | 04:07 | Now the trick is, is that if I've
applied settings to this file I'm going to
| | 04:11 | lose some of those things.
| | 04:13 | So this isn't always the best way to do this.
| | 04:16 | Yet there are situations say, when
you have a JPEG file like in here and
| | 04:20 | you just want to drag and drop it,
you haven't processed that file in
| | 04:22 | Lightroom, well that may work.
| | 04:25 | Now I mentioned it's cheating in a
sense, because it's not really the proper
| | 04:29 | way to do things, because you're risking losing
some of your work that you've done in Lightroom.
| | 04:34 | So that's why I'm showing this here at
the end, not the best way but it's good
| | 04:37 | to know that you can do that if you need to.
| | 04:40 | It's almost always better to go
through that Export dialog, because by doing
| | 04:43 | that you can be really particular and
make sure that all of the settings will be
| | 04:47 | included with the file
once it's finally exported.
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| Emailing photographs from Photoshop Lightroom| 00:00 | So far in this chapter we've been
focusing in on how we can functionally export
| | 00:04 | our photographs from Lightroom.
| | 00:06 | How can we do this more effectively and
seamlessly without interrupting our workflow?
| | 00:11 | Well here, we're going to focus in
on something which is going to be
| | 00:13 | functional and fun.
| | 00:15 | This is going to be all about e-mailing
photographs straight from Lightroom.
| | 00:20 | Now what's great about
this is this is functional.
| | 00:22 | This is something we need to do all the time.
| | 00:24 | It's a great way to
communicate with clients and friends,
| | 00:27 | It's a great way to get our pictures out there.
| | 00:30 | It's also a ton of fun because it's so
easy once you've set it up, it's kind of
| | 00:34 | amazing, it's almost like a paradigm shift.
| | 00:37 | It allows you to share your work
with others really, really quickly.
| | 00:41 | Well let's take a look
at how we can set this up.
| | 00:43 | We'll go ahead and navigate to the File pull
-down menu then we'll click on Email Photo.
| | 00:48 | Now the first time we do this, we're
going to see this dialog and we're going to
| | 00:51 | need to set up a few things here.
| | 00:52 | I'm going to go ahead and click From
and rather than Apple Mail I'm going to go
| | 00:56 | to my Email Account Manager.
| | 00:58 | Now I need to set up a new e-mail
account, so I'll click on Add and I'll name
| | 01:02 | this one CO-GMAIL and that's the account
I'm going to be sending these e-mails through.
| | 01:07 | I'll select that from this pull-down
menu here and again select whatever e-mail
| | 01:12 | client you want to use and then next click OK.
| | 01:15 | Well here it fills in all
of this information for me.
| | 01:17 | I need to go ahead and enter in my
Email Address, chris@chrisorwig.com and
| | 01:23 | then type in my Password there
and I use Gmail as the server for my
| | 01:27 | chrisorwig.com emails.
| | 01:29 | I want to validate this just to
make sure I've entered in all of this
| | 01:32 | information correctly and once I've
done that it will tell me it's Validated.
| | 01:37 | Lightroom will give me the green light;
| | 01:39 | I'm now ready to go.
| | 01:40 | I'll go ahead and click Done here
and then I'm going to send this e-mail.
| | 01:44 | This dialog has changed a little bit
now I have my information in there and I'm
| | 01:48 | just going to send myself a test e-mail here.
| | 01:51 | I'll call this one "Test" and
I'll say, "Hello! This is a test!"
| | 01:59 | The reason why I recommend you send
a test e-mail like I'm doing here to
| | 02:02 | yourself is just to see how it's
displayed to see how it all appears.
| | 02:07 | Before I send my important clients
photographs I do send them to myself again
| | 02:11 | just to make sure I've included the
correct images, make sure I don't have any
| | 02:14 | typos and again it's just a nice
way to see how this all functions.
| | 02:18 | Next, I'm going to include the attached
file, that's the one that we had selected.
| | 02:22 | If you had selected more images you
would see all of those in here as well.
| | 02:26 | Now, we can use a preset and
have a few presets to choose from.
| | 02:29 | Do we want it to be a small,
medium, large or full size?
| | 02:33 | Medium is going to work
pretty well 500 pixels wide.
| | 02:36 | That appears to be of nice size inside
of Gmail which is a web mail program and
| | 02:40 | then I'll go ahead and click Send.
| | 02:42 | Now this is going to happen
behind-the-scenes, it's kind of funny.
| | 02:45 | You'd would think it would need to open
up your e-mail program or something but
| | 02:49 | no, it's just going to do that in the
background then tell you, message has been sent.
| | 02:54 | Alright, well now that that's been sent,
I'm going to go ahead and open up my
| | 02:57 | e-mail program here and there we
can see that e-mail has come in.
| | 03:01 | We'll expand this a
little bit so we can view it.
| | 03:04 | And there you go, we have that
image inside of that e-mail and that
| | 03:06 | was incredibly easy.
| | 03:08 | Well let's say we want to send another picture.
| | 03:11 | Well here I'm going to go
ahead and click on a few pictures.
| | 03:13 | I'll click on one, hold down the
Command key and then click on a few others
| | 03:17 | that I want to send.
| | 03:19 | Next, I'm going to navigate to my File
pull-down menu and choose Email Photos.
| | 03:23 | This is going to open up the same dialog.
| | 03:25 | Again I just want to display how it
will show you multiple images in this case.
| | 03:29 | And what you can do is click
on this Address button here.
| | 03:32 | Now you can actually add
addresses in order to have them in this.
| | 03:37 | I'm going to go ahead and click New
Address and I'm just going to go ahead
| | 03:39 | and type out a name Chris Orwig and
then type out the e-mail address that I
| | 03:42 | have here and click OK.
| | 03:44 | Now what's great about this is this
will be saved in this Address Book.
| | 03:49 | So if I click OK here I can then go to
my Address book and when I want to send
| | 03:54 | an e-mail to a person that I'm
continually sending it to, say those top 10 or 20
| | 03:58 | or 30 clients you have.
| | 03:59 | Well you can check off their names
and then click OK and that e-mail will
| | 04:03 | automatically be added to this line here.
| | 04:06 | Next thing we want to do is just do test.
| | 04:08 | Let's call this "Test #2" just so I
can show you what it looks like to have
| | 04:12 | multiple files in the e-mail, they
are either horizontal or vertical.
| | 04:16 | Now, we'll simply click Send.
| | 04:17 | This will take place in the background
and once it's complete, it'll give us a
| | 04:21 | message that the e-mail has been sent.
| | 04:24 | And once it tells us that we'll go
ahead and pull up the e-mail account, click
| | 04:28 | in my Inbox here and
then take a look at Test #2.
| | 04:30 | And when we do that we can see that we
have these images, they fit really nicely
| | 04:35 | into this size window and we can see
the verticals or the horizontal images and
| | 04:40 | how they work with this.
| | 04:41 | And again what's great about this is
this gives us a way to kind of connect our
| | 04:45 | workflow to getting our work out there.
| | 04:48 | So here's what I recommend you do.
| | 04:49 | Spend a couple of minutes setting this
up, entering in your e-mail information
| | 04:53 | and then also enter in 10 or 15 e-mail
addresses in that Address Book, so that
| | 04:59 | you can have those at your
disposal or at your access.
| | 05:02 | So that you can quickly send off
those photographs to those friends, family
| | 05:06 | members or clients that you
have on that e-mail address.
| | 05:09 | And hey I just want to include a
shout out that if you want to send me a
| | 05:12 | photograph, I'd love see it.
| | 05:13 | I'd love to see how you're working in
Lightroom and what your photographs are.
| | 05:17 | One of the wonderful things about
being a photographer is being part of this
| | 05:20 | larger community where we share
ideas and pictures and where we kind of
| | 05:25 | collectively grow and change and develop.
| | 05:28 | Well, I hope to hear from you and that
wraps up our conversation about e-mailing
| | 05:32 | photographs from Lightroom.
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| Exporting to Adobe Revel| 00:00 | Here we're going to take a look at
how we can use these export controls, in
| | 00:03 | order to export pictures
to something completely new.
| | 00:06 | The first thing that we want
to do is select some picture.
| | 00:09 | So I'll go ahead and click on one
photograph, hold down the Shift key and
| | 00:12 | then click on another.
| | 00:13 | Next we're going to navigate to the
File pull-down menu and choose Export.
| | 00:18 | Now I've already mentioned briefly that
we can export to a hard drive or CD or
| | 00:22 | DVD or e-mail, we can also export this
new feature which is called Adobe Revel.
| | 00:27 | And if you select that you can see
that you can log into an account.
| | 00:29 | Now what it is an Adobe Revel account?
| | 00:29 | I'm going to pull up a browser here
quickly just to give you some information
| | 00:31 | and to share with you a link
where you can get some more info.
| | 00:32 | If you go to adobe.com and then
search for products you can find
| | 00:33 | information about this product.
| | 00:34 | And basically what this allows you to
do is to upload photographs to the Cloud
| | 00:35 | so to speak, so that you can access
these images from different devices.
| | 00:36 | Now if we scroll down a little bit
you can see a few feature highlights and
| | 00:37 | screen grabs, also it shows you how you
can access pictures from your iPad, your
| | 01:00 | computer, your iPhone.
| | 01:02 | You also have the ability to modify
those photographs and then to share these
| | 01:06 | pictures with others to give
others full access to these files.
| | 01:09 | Now this is a subscription service, so
it does cost money although you can try
| | 01:14 | out a 30 day trial if you're
interested in this particular product.
| | 01:18 | Well let's go ahead and hide
that, and back to this process.
| | 01:21 | Well I'm going to click Authorize and
log into my account that I've created
| | 01:24 | here, and then type in my Password and Sign In.
| | 01:27 | Once this is authorized it will
tell me that it's authorized there.
| | 01:30 | Next I can go to My Carousels.
| | 01:33 | Now carousels are kind of
like what you'd think of with old
| | 01:36 | traditional slideshows.
| | 01:38 | Remember when you had a carousel of slides;
| | 01:40 | it was a way to group slides together.
| | 01:42 | Currently I have this chris's Carousel;
| | 01:45 | I could also create other
carousels, other groupings.
| | 01:48 | Again it's just a way to group images together.
| | 01:51 | Next we can determine file naming;
| | 01:53 | I'll leave the files as
they are. File Settings;
| | 01:56 | well what do we want to upload?
| | 01:57 | In this case we're going to go full
Quality setting for these JPEG files, Image
| | 02:01 | Sizing, no need to resize.
| | 02:03 | Metadata, do you want to
include any metadata here?
| | 02:06 | Well sure, I'll add my copyright
information there and no need to add a Watermark.
| | 02:11 | Next thing I need to do
is to simply click Export.
| | 02:14 | Like with all of these different types
of exporting functionalities, all of this
| | 02:17 | again takes place behind-the-scenes.
| | 02:20 | Now in this case I'm uploading
some lower resolution JPEG files.
| | 02:24 | If these were really full high-res
files this would take a bit more time, and
| | 02:29 | obviously it would be something that
you'd want to do, when you had that time
| | 02:33 | for the Lightroom to kind of
process those files in the background.
| | 02:36 | Alright, well now that that's complete,
I'm going to go ahead and navigate to
| | 02:38 | this particular application on my desktop.
| | 02:41 | I will just pull over the
window and here's the window for it.
| | 02:44 | And you can see this is the Carousel
that I have currently just my default.
| | 02:48 | It's organizing these by date
and I can access these files.
| | 02:52 | I'll go ahead and click on one so that
we get a little bit of a larger view.
| | 02:55 | You can see how we can
go through these pictures.
| | 02:58 | I'll go ahead and go back to
these photographs here, I could select
| | 03:01 | another picture maybe this one here,
and again just a nice way to be able
| | 03:05 | to access those files.
| | 03:07 | I could access these on my iPhone, on
my Desktop, on my laptop, you name it.
| | 03:12 | So this really is a little bit of a
paradigm shift, this is something which is
| | 03:16 | completely different.
| | 03:17 | Rather than exporting to burn these
files to a CD or to a hard drive, put them
| | 03:22 | in a folder on a hard drive, this is
something completely different in the sense
| | 03:26 | that we're exporting them to a server
which is online, which we can then log
| | 03:31 | into and access from these different devices.
| | 03:33 | It's a new way to think about how we view
and share and work with our photographs.
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| Uploading photos to Facebook and Flickr| 00:00 | We're going to take a look at the
process for setting up the Publish Services
| | 00:03 | functionality in order to be able
to export and upload photographs to
| | 00:07 | Facebook or Flickr.
| | 00:09 | Now the process that I'm going to talk
about here is identical to the process of
| | 00:13 | working with video files and
we've talked about that previously.
| | 00:16 | Yet here I want to talk about
photographs because I know there are some of you
| | 00:20 | out there who are just going to
work with pictures and not video files.
| | 00:23 | So let's take a look at how we can do this.
| | 00:25 | The first thing you want to do is to
navigate to the Publish Services panel,
| | 00:29 | then click on the Plus (+) icon
and go to the Publishing Manager.
| | 00:32 | This allows you to dial in
settings for your different accounts.
| | 00:36 | Here I'm going to choose Facebook and
for Facebook, I'll go ahead and put my
| | 00:39 | name there, CO - Facebook.
| | 00:42 | Now this one is already authorized, again,
because I've done this previously and
| | 00:46 | because I'm already logged into Facebook.
| | 00:48 | It remembered that for me.
| | 00:50 | Now if you're not authorized, all
that you need to do is to simply click on
| | 00:54 | Authorize Facebook and then log into your
Facebook account and you'll be good to go.
| | 00:58 | Next, you'll probably want to dial in a
few settings here in regards to what do
| | 01:02 | you want to do with the title of these files.
| | 01:04 | Do you want to use a custom
name or just the filename?
| | 01:07 | Again, you can choose that.
| | 01:08 | For File Naming, I'm going to go
ahead and choose not to rename the files,
| | 01:12 | just leave this as is.
| | 01:14 | Next, do we want to include video
files in this Publish setting option?
| | 01:18 | Well, yeah, definitely.
| | 01:19 | Just in case you're going to upload
videos at some point, leave that one on.
| | 01:23 | File Settings, what about our Quality here?
| | 01:25 | Quality of about 70 or 80 should suffice.
| | 01:28 | Resize these images to Fit?
| | 01:30 | Well, we want to make sure not to
enlarge the files and because these are going
| | 01:33 | to be on Facebook, typically
you need a pretty small file.
| | 01:36 | So I'm going to take this
down to 500 pixels wide or tall.
| | 01:40 | Next, Output Sharpening.
| | 01:41 | I'll sharpen for the Screen, Amount is Standard.
| | 01:44 | Remove Location info, don't need that there.
| | 01:47 | I will include a Copyright &
Contact Info, and that's good.
| | 01:51 | I'm going to go ahead and click
Save in order to save those settings.
| | 01:54 | Well, now that I've done this,
over here, we can see we have our
| | 01:57 | Facebook-Publish Service connection set up.
| | 02:00 | Let's set up the Flickr
setting as well while we're here.
| | 02:03 | I'll click on Setup, this takes me back
to the same dialog and I'll just write
| | 02:07 | out CO - Flickr, I'll go ahead and
log in to this account and authorize it.
| | 02:11 | Now here it's going to ask me if I
arrived to this by way of Lightroom.
| | 02:15 | If you have, you click this box on the right-
hand side and I'll go ahead and click Next.
| | 02:21 | Once I've done this, I'll click OK,
Authorize, and then I've successfully
| | 02:25 | authorized the application Adobe
Photoshop Lightroom. Okay, well, great!
| | 02:30 | I'll drag it off to the side. All right!
| | 02:31 | Well, back here I'm going to click Done
because I'm now officially logged in and
| | 02:36 | I've authorized that account.
| | 02:38 | For Flickr, I can use the title using an
IPTC Title or I can just choose the Filename.
| | 02:44 | I'll choose that, I think that will be
fine, and then I want to include video
| | 02:47 | files in case I use those.
| | 02:49 | File Settings, let's crank up our
JPEG Quality there a little bit.
| | 02:53 | Then Resize to Fit, if we're going to
use these on Flickr, typically you can get
| | 02:57 | away with a larger file size.
| | 02:58 | We'll go to Long Edge.
| | 03:00 | I am going to just take these up
something like 1000 but I don't want to enlarge
| | 03:03 | the file anymore than needed.
| | 03:05 | And again, your Image Sizing, it's
really up to you, your own preference and how
| | 03:09 | you use these different sites.
| | 03:10 | Output Sharpening, again,
it's for Screen and Standard.
| | 03:13 | Metadata, I'm going to change this to
Copyright & Contact Only, and then I'll
| | 03:18 | make all of these pictures Public.
| | 03:20 | So again, as you can see, this is
really identical, it's almost like walking
| | 03:24 | through the same thing twice, but I'm
just setting up both of these accounts.
| | 03:28 | The great news here is you only do this once.
| | 03:31 | Once you've set it up,
you're good to go. All right!
| | 03:33 | Well, let's take a look at this now.
| | 03:35 | Now that we've set up both of these
services, we're ready to upload a photograph
| | 03:39 | to both sites and I'm going to choose
this picture here and simply drag it to
| | 03:43 | that there and then drag
it to this Photostream here.
| | 03:47 | Now I can publish these by clicking on
the Photostream and I can either go to
| | 03:52 | the Grid view so I can kind of see if
it's published and click on Publish here,
| | 03:56 | or I can just click this Publish
button down below. Same thing,
| | 03:59 | I'll go to Facebook and then I'm going
to just click on the Publish button here.
| | 04:04 | Once this has been completed, it will
give me a message in the top left-hand
| | 04:08 | side of Lightroom here.
| | 04:09 | It's updating my wall
photos or my Flickr photos.
| | 04:12 | Let's take a look at how these
appear in these different accounts.
| | 04:15 | I'll go ahead and pull back my
browser here for a second and let's go to
| | 04:21 | this particular site.
| | 04:23 | What we can see now is that I have this
photograph here which is kind of nice.
| | 04:27 | I can view this a little bit more
closely, nice to see that and see how
| | 04:30 | that looks on that site.
| | 04:32 | Next, I'll go to Facebook and at
Facebook, I'm already logged in, so I'm going
| | 04:37 | to go ahead and navigate to my wall
here, and here you can see I have this
| | 04:41 | photograph again on this particular site.
| | 04:44 | What's amazing to me about Facebook, I
think to all of us, is someone already
| | 04:48 | likes that picture and it
literally was just uploaded seconds ago.
| | 04:51 | It's kind of funny;
| | 04:52 | it's a little bit of a knee-jerk
reaction which kind of brings me to an
| | 04:56 | interesting topic on this whole idea
of uploading to these different sites.
| | 05:01 | One of the reasons why you may want to
do this is one, just to let people know
| | 05:04 | you're still shooting, what you're
thinking, kind of get some feedback on ideas.
| | 05:08 | You want to keep some of
your special images back.
| | 05:11 | It's not the best idea to put your
portfolio necessarily on Facebook or Flickr.
| | 05:16 | So you want to come up with some sort
of a strategy in regards to the type of
| | 05:20 | content you're putting up there and then
try to be somewhat consistent with that
| | 05:24 | so that you can get some good and
valuable feedback and also lead so that you
| | 05:28 | can continue to shoot more pictures.
| | 05:31 | I should say too, one of your
strategies could just be fun, and that's one of
| | 05:35 | the reasons why we take pictures.
| | 05:36 | So maybe your whole point is just to
share pictures just for the fun of it.
| | 05:40 | That is definitely valid. All right!
| | 05:42 | We are wrapping up our conversation about this.
| | 05:45 | It's a really simple process.
| | 05:46 | Once you've set it up, you can then
continue to add work to those different sites.
| | 05:51 | And the nice thing about that is it's
kind of created in a workflow which is
| | 05:55 | pretty seamless and you can almost have
this take place behind-the-scenes here
| | 05:59 | not even really thinking about it.
| | 06:01 | When you come across a good image, just drag
it over there and hit Publish, and voila!
| | 06:05 | It will be up and online.
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ConclusionGoodbye| 00:00 | Now that you know how to manage and
organize your photographs and video files
| | 00:04 | working with the Library module, it's
time to take a look at how we can develop
| | 00:09 | and process our pictures.
| | 00:11 | Well, that's exactly what we are going to
cover in the next course in this series,
| | 00:14 | Lightroom 4 Essentials.
| | 00:16 | In the next course, we're going
to focus in on the Develop module.
| | 00:19 | And you know the Develop module,
| | 00:21 | that's really where the magic takes place.
| | 00:23 | This is where our images truly come to life.
| | 00:26 | So in closing, thanks for joining me
in this course and I look forward to
| | 00:29 | continuing to work with you in the next one.
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